S'  C  flbfl 


JL. 


W 


Digitized  by  the  Internet  Archive 
in  2018  with  funding  from 
Getty  Research  Institute 


https://archive.org/details/sunlightshadowboOOadam 


SUNLIGHT  AND  SHADOW 


Sunlight  and  Shadow 


A  BOOK  FOR  PHOTOGRAPHERS 

A  MA  1 E  UR  .  1 ND  PROFESSION  A  L 


EDITED  II V 

W.  I.  LINCOLN  ADAMS 


Illustrated  by  (Original  photographs  from  feature 


“  The  best  in  this  kind  are  but  shadows,  and  the  worst  are 

no  worse,  if  imagination  amend  them.” — Shakespeare 


NEW  YORK 

THE  BAKER  &  TAYLOR  COMPANY 

5  and  7  East  Sixteenth  Street 


Copyrighted  1897 

BY 

The  Baker  &  Taylor  Company 


I'KESS  <  1 1  S'l  N  LES  & 


\SH,  NEW  YORK 


TO 

MY  FRIEND 

B  E NJA  MIN  J V E  S  T 


K I  LB  URN 


A  R  TIST-PHO  TOGRA  /’HER 


preface 


MY  little  book  entitled  “Amateur  Photography” 
was  designed,  as  its  sub-title  suggested,  to  be 
a  “practical  guide  for  the  beginner.”  The 
present  volume  seeks  to  aid  the  more  advanced  photog¬ 
rapher.  It  is  assumed  that  the  reader  has  mastered  the 
technicalities  of  photography,  and  now  desires  to  make 
better  pictures.  I  have  therefore  collected  from  “The 
Photographic  Times,”  “The  American  Annual  of  Pho¬ 
tography,”  and  other  sources,  the  following  articles  and 
illustrations  by  the  best  authorities  on  Photographic 
Landscape  and  Studio  Art,  including,  also,  some  papers 
and  illustrations  of  my  own,  in  the  hope  that  they  may 
help,  by  precept  and  example,  the  photographer  who 
desires  to  advance  in  pictorial  photography. 


Montclair, 

June,  1897. 


W.  I.  LINCOLN  ADAMS. 


Contents 


PAC 


I. 

The  Choice  of  Subject  -  -  -  -  15 

II. 

Landscape  without  Figures  -  23 

III. 

Landscape  with  Figures  -  -  -  31 

IV. 

Foregrounds  ------  39 

V. 

The  Sky  -  -  -  -  -  -  -  47 

VI. 

Out-door  Portraits  and  Groups  -  -  57 

VII. 

The  Hand  Camera  69 

VIII. 

Instantaneous  Photography  -  79 

IX. 

Winter  Photography  -  -  -  -  91 

X. 

Marines  -------  101 

XL 

Photography  at  Night  -  -  -  -  113 

XII. 

Lighting  in  Portraiture  -  -  -  -  119 

XI  LI. 

Photographing  Children  -  -  -  -125 

XIV. 

Art  in  Grouping  -  -  -  -  •  133 

Cist  of  Illustrations 


In  Prospect  Park  (Brooklyn), 
By  the  River, 

Morning  Mist,  - 
Day’s  Decline, 

Winter,  .... 
The  Jungfrau, 

On  Lewes  Creek, 

Woods,  ----- 
By  the  Stream,  - 


The  Jungfrau, 

In  the  Highlands,  - 
Landscape  and  Clouds, 

Shades  of  Evening,  - 
Returning  from  Market, 

An  English  Country  Scene, 
Study  of  Fisherfolk,  - 
A  Sicilian  Idyll, 

Mending  Nets  (Katwyk), 

Here  Comes  Father, 

A  Wet  Day  on  the  Boulevard, 
Foregrounds — No.  i, 

“  No.  2, 

“  No.  3, 

No.  4,  - 

“  No.  5, 

No.  6,  - 

The  Sky — No.  i, 

“  No.  2, 

No.  3. 


IV.  I.  Lincoln  Adams ,  14 

A.  L.  Eidcmiller ,  -  -  -  17 

//.  P.  Robinson ,  -  -  -  -  1S 

A.  Horsley  Hinton ,  -  -  20 

IV.  H.  Dodge ,  24 

Dr.  J.  Aleincr ,  -  -  -  24 

H.  Troth,  -  25 

P.  Dementjeff,  -  -  -  26 

E.  B.  Garrison,  26 

Alfred  St ie glitz .  -  -  -  27 

IV.  Dawes,  -  -  -  -  2S 

Arthur  Burchett,  -  29 

-  Her  Grace  The  Duchess  of  Sermoneta,  30 

Alfred  Stic  glitz,  -  -  -  32 

Seymour  Conway,  33 

Miss  1\.  G.  Spink,  -  34 

Count  Von  Gloedcn,  35 

Alfred  Si ieg lit z,  -  36 

J esse  Poundstone,  37 

Alfred  Stic  glitz,  -  -  -  38 

H.  P.  Robinson,  -  -  -  -  40 

...  41 

-  -  -  -  42 

43 


-  44 
45 

-  48 

48 

'  49 


LIST  OF  ILLUSTRATIONS 


The  Sky — No.  4,  - 

“  No.  5,  ----- 

“  No.  6,  - 

Hilltop  Farm,  ------ 

A  Gl'Tach  Meeting,  ----- 

Intimate  Friends,  ------ 

An  Alpine  Cross,  ------ 

As  She  Comes  Down  the  Stairs, 

“  What  is  Your  Fortune,  My  Pretty  Maid? 
“  Nobody  Axed  You,  Sir,”  she  said, 

The  Shepherd, . 

“  He  Cometh  Not,"  she  said,  - 
A  Favorite  Occupation,  Venice, 

Winter,  Fifth  Avenue,  - 
A  Blockade,  New  York,  -  -  -  - 

Wash-day,  Venice,  ------ 

A  Hot  Day,  ------- 

In  the  Fields,  - 

A  Bit  Near  Munich,  -----  . 

A  Venetian  Well,  ------ 

A  Venetian  Bit,  - 

Venetian  Characters,  - 

Katwyk  Beach,  ------ 

Mid-ocean,  ------- 

The  Diver,  ------- 

Throwing  the  Hammer,  - 
A  Rise  in  the  World,  - 

The  Start,  ------- 

Jumping,  ------- 

A  Snap  Shot,  ------- 

A  Reminiscence  of  Winter,  - 

Under  the  Willows,  - 

A  Country  Lane  in  Winter,  - 

End  of  a  Winter’s  Day,  -  -  -  - 

Frost  Laden,  ------- 


H.  P.  Robinson,  -  -  -  51 

-  52 

-  1  -  -  53 

IV.  I.  Lincoln  Adams,  -  -  55 

Alfred  Stic  glitz,  -  -  -  57 

Mabel  Osgood  Wright,  -  -  5S 

Alex.  Keighley,  -  60 

R.  Eickemeyer ,  fr. ,  62 

Major  R.  H.  Brown  -  -  64 

“  “  05 
II.  K.  Noyes  -  66 

R.  Eic Ice rneyer,  Jr. ,  -  -  67 

A  If  red  St ie glitz,  -  68 


-  6g 

70 

-  70 

71 

72 

73 

-  74 
75 

-  76 

77 

-  73 


Louis  Mel  don,  -  -  -  -  81 

-  S2 

The  Marquis  de  Alf  arras,  -  83 

Janies  Burton,  -  -  -  -  85 

S8 

C.  C.  Langill,  -  -  -  -  Sg 

l V.  I.  Lincoln  Adams,  -  -  92 

“  -  -  -  93 

A.  R.  Dresser,  -  -  -  94 

W.  B.  Post,  -  -  -  -  95 

Randall  Spaulding  -  -  96 


SUNLIGHT  AND  S  HA  DO  1 1 


Boston  Public  Garden,  -----  Newton  IV.  Flwcll , 

A  Winter  Morning  in  Brookline,  -  -  - 

A  Rough  Morning,  -----  Frank  HurndaU , 

Holy  Loch,  -  -  -  -  -  -  -  H.  P.  Robinson , 

Mr.  Gould’s  “  Atlanta,”  -  -  -  -  “  “ 

Valkyrie  III,  Aii.sa,  Britannia,  -  -  -  “ 

Sky  and  Sea,  ------ 

Seagulls,  -------- 


On  the  Heatheruei.l,  ----- 

Marine  Study,  ------- 

Twilight,  Mid-ocean,  - 

The  Sea,  -------- 

By  Bryant  Park  after  t  he  Storm, 

The  Savoy  Hotel,  New  York — Stormy  Nigih, 
Entrance  to  Central  Park,  - 
The  Giant  Hotels,  from  Central  Park, 
Moonligh  t,  Central  Park, 

S  tudy  (from  Reflection  in  a  Mirror), 

Portrait  Studies,  ------ 

Isabel,  -------- 

Minnie, . -  -  - 


J.  M .  Bemis,  - 
T.  Frank  .Atkinson 
Harry  Platt , 

JV.  A.  Fraser,  - 


/.  IVells  Champney , 
B.  J.  Fa  Ik,  - 


Rosita, 

Rita, 


Lit  i  le  Tuesday, 


Childhood, 

C i i i i  D  Study, 


Reflections,  -------  “  -  - 

Child  Study,  ------  Fred.  Boissonas,  - 

Art  in  Grouping — No.  i,  --------- 

“  “  No.  2,  --------  - 

“  “  No.  3,  -  --  --  --  - 

“  “  No.  4,  -  --  --  --  -- 

No.  5, . - 

“  “  No.  6,--------- 

Scene  from  “  A  Capital  Courtship,”  -  -  Alexander  Black,  - 


-  97 
OS 

ICO 

102 

104 

104 

105 
105 

-  107 
IO9 
I  JO 
I  12 

-  1 14 
1  '4 

-  I '  5 

I  T  6 

-  117 

1 19 

120,  123 

-  125 
126 

120 
127 

-  1 2S 

123 

-  129 
130 

-  131 
133 

-  131 
•35 

-  135 
137 

-  139 
140 


By  W.  I.  Lincoln  Adams 


IN  PROSPECT  PARK  (Brooklyn) 


Chapter  I 


THE  CHOICE  OF  SUBJECT 


R.  XANTHUS  SMITH,  who  is  an  artist 
with  the  pencil  and  brush,  as  well  as 
with  camera  and  lens,  has  treated  this 
subject  in  his  characteristically  in¬ 
structive  st}de,  in  an  article  which  was 
printed  in  The  Photographic  Times 
some  time  ago.  The  illustrations, 
from  the  portfolios  of  several  photog¬ 
raphers,  happen  to  be  all  of  pure  landscape,  that  is, 
without  figures  ;  but  here  pictorial  photography  properly 
begins,  and  the  young  amateur  will  do  well  to  perfect  his 
landscape  art  before  attempting  the  more  difficult  subject 
of  figures.  Mr.  Smith  says  : 

Choice  of  subject  is  an  exceedingly  important  con¬ 
sideration  for  the  majority  of  amateurs. 

By  a  judicious  choice  of  subject  the  finished  work  of 
one  photographer  will  be  universally  interesting,  while 
that  of  another,  from  lack  of  knowledge  or  happ}^  tact  in 
picking  out  that  which  he  photographs,  will  utterly  fail 
to  attract. 

There  are  three  leading  considerations  to  be  taken 

1 5 


SUNLIGHT  AND  SHADOW 


into  account  in  making  pictures  with  the  camera.  We 
must  either  aim  at  a  truthful  representation  of  something 
interesting  to  ourselves  or  our  friends  ;  or  we  must  pre¬ 
sent  a  picture  that  tells  a  story  and  is  of  wide  interest  ;  or 
else  strive  to  attain  a  result  that  is  purely  artistic,  that  is, 
dependent  for  its  interest  and  success  upon  its  composi 
tion  and  effect. 

The  first  of  these  considerations  is  altogether  the 
simplest  and  easiest.  Views  made  as  records  alone  need 
give  us  little  care,  but  when  we  wish  to  give  our  work 
the  wider  interest  of  depicting  some  incident  more  or  less 
striking  or  amusing,  we  must  use  our  wits  to  the  best 
advantage  ;  we  must,  either  by  readiness  and  lucky 
chance,  or  by  careful  preparation,  get  the  numerous  in¬ 
cidents  that  are  taking  place  connected  with  animated 
nature,  either  pathetic  or  humorous.  The  picturesque 
must  enter  largely  into  our  subjects.  Old  people,  gener¬ 
ally  of  the  lower  walks  of  life,  utterly  unsophisticated, 
children  and  animals,  give  us  the  material  that  will  make 
the  most  generally  taking  pictures,  and  if  we  can  be  so 
fortunate  as  to  catch  those  incidents  or  happenings  that 
are  peculiar  and  of  rare  occurrence,  and  are  such  as 
would  be  interesting  if  described,  we  may  rid  ourselves 
of  any  care  as  to  the  artistic  treatment  of  the  subject 
because  the  picture  will  go  upon  its  merits  independent 
of  art.  Of  course,  if  we  can  attain  an  artistic  treatment 
in  addition  to  a  well-told  story,  it  will  be  so  much  the 


THE  CHOICE  OE  SUBJECT 


greater  triumph.  But  it  is  too  much  to  expect  to  get 
both  by  photography  alone.  A  combination  of  telling- 
incident  with  tine  artistic  qualities  makes  those  greatest 


BY  THE  RIVER 


By  A.  L.  Eidemiller 


SUNLIGHT  AND  SHADOW 

of  triumphs  that  we  see  only  in  the  works  of  eminent 
artists  ;  they  are  great  for  all  time,  and  it  seems  in  the 


MORNING  MIST 


Ry  H.  P.  Robinson 


THE  CHOICE  OF  SUBJECT 


course  of  nature  that  there  are  not  very  many  of  them 
to  be  produced. 

Subjects  founded  on  the  third,  or  purely  artistic  side 
of  art,  will  be  the  most  difficult  to  manage. 

The  best  held  for  such  is  out-door  nature.  Land¬ 
scape,  chiefly  where  the  effects  of  open  nature  give  us 
that  vagueness  and  scope  for  the  imagination,  which  we 
cannot  have  in  dealing  with  close-at-hand  subjects  of 
animate  life — and  with  sufficient  knowledge  and  skill  the 
most  simple  subjects  in  nature  may  often  be  made  to 
yield  the  most  interesting  pictures.  The  securing  of  a 
suitable  effect  or  treatment  for  a  scene  in  nature  is  of 
prime  importance.  For  a  rugged  mountain  scene  we  do 
not  want  the  calm  and  serene.  Gathering  storms  and 
rolling,  lowering  mists,  heighten  the  mysterious  senti¬ 
ment  of  such  places,  and  should  there  be  figures,  let 
them  be  hurrying  anxiously,  as  if  storm-driven  and 
anxious  to  be  away  from  the  wild,  awe-inspiring  region. 
Or  a  lone  fisherman,  where  a  mountain  torrent  dashes 
down,  might  be  plying  his  hook,  utterly  oblivious  to  his 
surroundings  in  the  eagerness  of  his  pursuit. 

For  scenes  that  partake  of  the  pastoral  or  beautiful 
wre  want  a  serene  atmosphere,  and  all  the  intricacy  and 
beauty  of  light  and  shadow  that  we  can  secure,  and  in¬ 
variably  a  large  amount  of  vapor  or  haziness. 

In  either  the  grand  or  the  beautiful  in  pictorial  art, 
wre  must  have  a  considerable  amount  of  simplicity  of 


i9 


DAY'S  DECLINE 


By  A.  Hoksi.ev  Hinton 


THE  CHOICE  OE  SUBJECT 


arrangement,  and  the  more  breadth  and  force  of  effect 
we  can  have,  the  more  impressive  and  interesting  our 

pictures  will  be. 

The  introduction  of  appropriate  skies  is  of  prime 
importance  in  landscape.  Cloud  effects,  while  they 
heighten  and  complete  the  interest  in  full  landscape 
scenes,  are  absolutely  the  making  of  simple,  low  horizon 
stretches  of  moor,  or  flat,  sandy  coast  views.  All  persons 
of  a  poetic  or  artistic  nature  are  great  admirers  of  sky 
effects.  The  eminent  poets  have  dwelt  upon  them  to  the 
delight  of  thousands  of  readers,  and  the  eminent  land¬ 
scape  painters  have  given  the  greatest  attention  to  the 
rendering  of  interesting  sk}^  effects,  thereby  enriching 
the  interest  and  beauty  of  their  works  for  generations  of 
admirers. 

Many  difficulties  attend  the  securing  of  good  sky 
effects  in  photographs  ;  but,  nevertheless,  we  would  ur¬ 
gently  recommend  all  photographers  to  devote  as  much 
time  and  attention  as  they  can  to  securing  good  skies  in 
their  work— using  any  of  the  best  known  means.  We 
are  confident  that  in  so  doing  thej^  will  be  taking  one  of 
the  most  direct  roads  toward  elevating  their  work  as  a 
fine  art. 


Chapter  ll 


LANDSCAPE  WITHOUT  FIGURES 


suggested  in  the  preceding  chapter,  pure 
landscape,  without  figures,  is  properly 
the  first  pictorial  work  which  should  en¬ 
gage  the  attention  of  a  photographer,  as 
in  this  field  he  is  most  likely  to  attain 
satisfactory  results  at  the  start.  The 
more  difficult  subjects,  with  figures,  may 
be  taken  up  later,  and  these  are  there¬ 
fore  treated  in  subsequent  chapters. 

Successful  landscape  work  requires  :  First,  a  trained 
eye  to  discover  and  select  the  pictorial  in  nature  ;  and, 
second,  a  cultivated  judgment  for  deciding  the  conditions 
under  which  the  picture  shall  be  photographed. 

There  is  considerable  opportunity7  for  the  expression 
of  individual  taste  in  landscape  work,  for  one  can  deter¬ 
mine  the  character  of  one’s  picture  to  a  degree  which 
may  not  at  first  be  realized.  The  atmospheric  conditions 
vary  so  greatly7  through  the  course  of  a  year,  or  even  of 
one  day,  that  in  choosing  the  time  when  the  photograph¬ 
ing  shall  be  done,  one  can  give  almost  any7  character 


SUNLIGHT  AND  SHADOW 


desired  to  one’s  landscape.  And  the  chiaro-oscuro  can  also 
be  intelligently  determined  by  the  time  selected  for  the 
photographing. 


If  a  favorite 
scene  does  not 
completely  satis¬ 
fy  under  certain 
conditions  at  one 
time,  it  may  prove 
more  satisfactory 
under  different 


circumstances  at  winter  by  w.  h.  dodcE 

another  hour  of  the  day  or  season  of  the  year.  One  may 
study  a  picture  in  nature  under  the  varying  conditions  of 

light  and  shade, 
atmosphere,  etc., 
throughout  an  en¬ 
tire  year,  photo¬ 
graphing  it  occa¬ 
sionally  and  com¬ 
paring  the  results, 
until  the  perfect 
result  is  obtained 
at  last,  for  in  this 

THE  JUNGFRAU  By  Dr,  j.  Meinek  WOl'lv  W  0  1UUV 

hope  very  nearly  to  approach  perfection. 

'The  fruit  of  such  a  loving  study  of  nature  with  the 


24 


ON  LEWES  CREEK  By  H.  Troth 


SUNLIGHT  AND  SHADOW 


camera,  is  infinitely  more  precious  than  the  portfolio  of 
exquisite  landscapes  may  indicate.  There  results  a  train¬ 
ing  of  the  eye  which  is  far  great¬ 
er  compensation,  for  henceforth 
one  may  enjoy  pictures  at  every- 
hand. 

The  character  of  a  landscape 
photograph  may  also  be  deter¬ 
mined  to  a  large  extent  by7  the 
point  of  view  selected  for  the 
photographing  ;  and  the  focus  of 
the  lens  employed,  the  size  and 
shape  of  the  plate  are  additional  woods  b>-  p.  demextjefk 

factors  at  the  photographer’s  disposal  in  determining  the 

character  of  his 


picture. 

In  selecting  the 
method  for  print¬ 
ing  there  is  room 
for  the  exercise 
of  considerable 
taste.  We  have 
so  many  methods 
at  our  disposal 

BY  THE  STREAM  By  E.  B.  Garrison  HOW  that  WQ  Can 

give  a  wide  variety  ot  effects  to  our  finished  photographs. 
The  judicious  photographer  will  print  a  winter  scene  in  a 


26 


LANDSCAPE  WITHOUT  FIGURES 


cold  bromide  or  platinotj^pe.  The  cvanotype  or  “  blue  ” 
print  often  produces  a  snow  or  ice  picture  with  excellent 


THE  JUNGFRAU  By  Alfred  Stieglitz 

effect.  A  warm,  summer  scene  should  be  printed  in  a 
warm  color,  of  course,  and  so  on. 


27 


LANDSCAPE  WITHOUT  FIGURES 


The  mount  should  be  selected  to  suit  the  character 
and  tone  of  the  print,  and  in  most  cases  a  plain  mount 
without  any  gilt  to  detract  the  eye  from  the  picture  itself 
will  be  found  most  agreeable.  Large  cards  of  neutral 
tints,  leaving  broad  margins,  are  usually  most  effective 
as  mounts  for  landscape  photographs. 

Thus  it  is,  while  recognizing  the  limitations  of  the 


camera,  but  using  all  the  means  at  command,  a  skilful 
technical  photographer  with  a  trained  eye  for  the  beauti¬ 
ful  in  nature,  ma}7  succeed  in  making  highly  satisfactory 
pictorial  photographs  from  the  landscape  about  him, 
when  he  could  only  fail  in  similar  attempts  at  figure 
composition  and  genre. 

Therefore,  I  advise  the  beginner,  at  least,  to  confine 
his  efforts  to  pure  landscape,  without  figures.  The  illus- 


28 


LANDSCAPE  AND  CLOUDS 


By  Arthur  Burchett 


SUNLIGHT  AND  SHADOW 


trations  accompanying  this  chapter  are  from  the  collect- 
tions  of  several  different  workers  ;  but  all,  1  think,  show, 
in  an  eminent  degree,  how  great  the  possibilities  are  of 
the  camera,  in  the  hands  of  trained  photographers,  to 
produce,  from  pure  landscape,  without  figures,  entirely 
satisfying  pictures. 


SHADES  OF  EVENING 


By  Hek  Grace  The  Dl  chess  of  Ser.moneta 


Chapter  III 


LANDSCAPE  WITH  FIGURES 

FTER  acquiring  a  certain  proficiency 
in  photographing  pure  landscapes, 
without  the  introduction  of  figures 
of  any  kind,  the  more  difficult  work 
of  making  pictures  of  natural  scen¬ 
ery,  in  which  figures  play  a  promin¬ 
ent  part,  may  properly  be  taken  up. 

It  is  a  curious  fact,  that  while  in 
nature  the  presence  of  one  or  more 
figures  gives  life  to  the  scene,  adds  a  certain  human 
interest,  and  removes  any  feeling  of  desolateness  which 
might  otherwise  exist,  yet,  in  the  majority  of  land¬ 
scapes  which  include  figures,  they  appear  stiff  and  un¬ 
natural,  and  one  is  left  with  the  feeling  that  the  picture 
would  have  been  better  had  the  figures  been  omitted. 
Andrew  Pringle,  in  one  of  his  humorous  papers  contri¬ 
buted  to  The  British  Journal  of  Photography,  very 
cleverly  says:  “A  very  crucial  test  of  a  man’s  artistic 
power  is  his  selection  and  arrangement  of  figures  in  a 
landscape.  1  do  not  wish  to  be  hypercritical,  and  the 
stone  1  throw  hits  myself  often,  but  I  must  say  that 


By*  A.  Stieglitz 


LANDSCAPE  WITH  PIC  (VIES 


in  ninety -nine  out  of  every  hundred  landscapes  with 
figures  that  I  see,  the  figures  ruin  the  whole  affair. 
They  are  inappropriate  figures,  inappropriately  dressed, 
inappropriately  occupied,  inappropriately  posed,  inappro¬ 
priately  and  wrongly  placed,  and  in  most  cases  would  be 
better  at  home  in  bed.  Whatever  figures  are  in  a  land¬ 
scape  picture,  the}7  are  sure  to  catch  the  eye.  If  they  are 
near  the  camera  the  eye  can,  with  difficulty,  look  beyond 
them.  If  they  are  at  a  moderate  distance  they  irritate 
and  distract  unless  treated  with  the  greatest  skill.  If  at 
a  distance,  they  look 
like  defects  in  the 
plate  ;  if  they  appear 
near  one  side  of  the 
picture  they  are  al¬ 
most  in  all  cases  fatal, 
while  in  the  middle 
they  are  almost  in¬ 
variably  mischievous. 

1  have  never  myself 
learned  properly  to 
arrange  figures  in  a 
landscape,  and  I  pre¬ 
fer  sins  of  omission 
to  those  of  deliberate 
commission,  so  as  a  rule  I  leave  figures  out,  and  among 
the  photographers  of  the  world  1  cannot  count  more  than 


RETURNING  FROM  MARKET  By  Alfred  Stiegutz 


AN  ENGLISH  COUNTRY  SCENE 


By  Seymour  Conway 


SUNLIGHT  AND  SHADOW 


three  or  four  who  ever  use  figures  perfectly,  and  not  one 
who  is  always  happy  in  his  arrangement.”  Much  that 
Mr.  Pringle  says  is  undoubtedly  true,  and  I  have  accord¬ 
ingly  adopted  his  plan,  confining  myself,  for  the  most 
part,  to  pure  landscapes.  It  should  be  remembered  that 
a  picture  is  rarely,  if  ever  pleasing,  where  the  figures  and 
the  landscape  both  claim  the  attention  of  the  observer. 
The  one  must  be  subordinate  to  the  other.  Take,  for 
instance,  the  picture  shown  here  entitled  “Stud}7  of 


STUDY  OF  FISHERFOLK  By  Miss  K.  G.  Spink 


Fisherfolk.”  The  landscape,  or  rather  the  seascape,  is  of 
little,  if  any,  importance.  It  is  a  study  of  figures  ;  the 
rest  is  merely  a  background.  The  same  may  be  said  ot 
Mr.  Stieglitz’s  picture,  “Mending  Nets.”  In  the  little 
picture  which  is  used  as  an  initial  letter  to  the  chapter, 
and  the  picture  entitled  “An  English  Country  Lane,”  we 
have  the  opposite  effect.  They  are  landscape  studies, 
with  figure  introduced  to  give  life  to  the  scene. 


34 


LANDSCAPE  WITH  FIGURES 


Before  introducing  a  figure  into  a  landscape,  the  pho¬ 
tographer  should  first  of  all  consider,  and  consider  very 
carefully,  whether  it  is  necessary  and  whether  it  will  be 
an  improvement.  If  he  thinks  it  would  improve  the 
picture,  then  decide  the  kind  of  figure  most  suitable  to 


A  SICILIAN  IDYLL  By  Count  von  Gloeden 


the  subject.  If  it  is  not  suitable,  by  all  means  omit  it. 
How  often  is  it  apparent  that  the  photographer  has  had 
with  him  some  friend  who  is  anxious  to  be  included  in 
the  photographs.  “All  right,”  says  the  camera  man, 
“go  and  stand  over  there.”  So  the  delighted  friend  goes 

35 


MENDING  NETS  (KATWYK)  By  Ai.i'kfd  Stibc.i.itz 


SCX LIGHT  A  XH  S HA  DO  W 


and  stands  “over  there”  with  an  attitude  and  expression 
resembling  a  stuffed  dummy  The  exposure  is  made, 
the  picture  finished,  and  the  friend  is  delighted.  If 
the  photographer  possesses  any  artistic  taste,  he  realizes 
then  his  mistake.  He  cuts  off  the  figure  and  finds  how 
much  the  picture  is  improved. 

In  this  article  I  give  a  few  illustrations  by  Mr.  Alfred 
Stieglitz,  which  will  serve  as  a  lesson  much  better  than 
anything  I  can  write.  If  one  carefully  studies  these  he 
will  find  how  careful  the  artist  has  been  to  have  his  figures 
in  a  natural  position.  They  are  there  because  they  are 
required,  and  because  each  picture  would  be  incomplete 
without  them.  There  is  an  absolute  unconsciousness, 
on  the  part  of  the  subjects  or  models,  of  the  existence 
of  the  camera,  and  this  is  perhaps  the  true  secret  of  ob¬ 
taining  successful  pictures  of  landscapes  with  figures. 


"HERE  COMES  FATHER” 


By  Jesse  Poundstone 


Chapter  IV 


FOREGROUNDS 

N  The  Photographic  Times  for  July, 
1S95,  Mr.  H.  P.  Robinson,  the  vet¬ 
eran  English  artist,  photographer, 
and  writer,  treats  this  important 
subject  in  his  usual  illuminating 
way.  The  attractive  illustrations 
are  also  by  Mr.  Robinson.  We 
reprint  his  language  verbatim. 

In  a  landscape,  he  says,  by  whatever  means,  but  in  pho- 
tograph}T  more  particularly,  the  foreground  is  usually  a  very 
important  part  of  the  picture.  Why  the  foreground  should 
be  thought  of  more  consequence  in  a  photograph  than  in 
a  painting  is  not  far  to  find.  In  painting,  the  artist  has 
more  command  than  the  photographer  over  his  effect  in 
representing  the  more  distant  parts  of  his  subject  ;  he 
can  perform  the  function  of  faith  and  remove  mountains  ; 
he  can  build  castles  or  temples  just  as  the  fancy  takes 
him  to  be  gothic  or  classical  ;  he  can  divert  the  course  of 
rivers  ;  he  can  destroy  or  he  can  build  up,  but  he  cannot, 
without  very  great  labor  and  preraphaelite  skill,  rival  the 
sun  artist  in  his  power  of  representing  foreground  detail, 


39 


SIX  LIGHT  XX  D  SHADOW 


and  as  it  is  natural  that  all  means  of  art  should  tend 
toward  the  kind  of  production  for  which  it  is  most  fitted, 
it  follows  that,  however  it  may  show  its  varied  powers 
in  other  directions,  photography  almost  insensibly  gravi¬ 
tates  toward  the  kind  of  effect  which  shows  its  peculiar 
powers  to  best  advantage.  In  saving  this  I  must  not  be 
misunderstood  to  infer  that  because  a  lens  can  always 
secure  detail  that  detail  is  always  worth  securing.  On 
the  contran7,  sharpness,  as  its  name  implies,  is  an  edged 
tool,  very  useful  in  skillful  hands,  but  if  not  used  with 
caution,  dangerous  and  sure  to  wound  ;  and  indeed  has 
caused  much  mischief  in  pictorial  photography. 

Another  reason  why  the  photographer  should  value 
the  foreground  is  that  it  is  more  within  his  reach  than 

other  parts,  and 
offers  him  greater 
facilities  for  cor¬ 
recting  his  com¬ 
position.  It  also 
is  valuable  as  giv¬ 
ing  him  the  power 
of  showing  that 
his  picture  was 
not  one  of  nat¬ 
ure’s  flukes,  and 
that  the  artist  had  more  to  do  with  the  tune  than  merely 
turning  the  handle,  whether  the  music  was  good  or  had. 


40 


FOREGROUNDS 


Here  I  will  venture  on  a  digression.  It  is  the  fashion 
of  those  who  confound  nature  with  art,  and  take  only  a 
superficial  view 
of  both,  to  say 
everything  in  a 
picture  should 
look  “natural.” 

This  is  right  to  a 
great  extent,  but 
not  always  all  the 
the  way  ;  it  de¬ 
pends  upon  what 
is  taken  to  be  nat¬ 
ural,  and  above  all,  as  the  object  is  a  picture,  whether 
the  “natural”  be  pictorial.  To  “look  natural”  is  com¬ 
mendable,  but  it  is  not  the  end  and  aim  of  art.  Photog¬ 
raphy  itself  ought  not  to  be  blamed  for  sins  committed  in 
its  name.  It  is  the  result  of  want  of  thought,  bad  taste, 
stupidity  or  ignorance,  that  in  nine  cases  out  of  ten,  or 
more,  when  figures  are  designedly  introduced  into  a  pho¬ 
tograph,  they  appear  stiff,  stark,  and  utterly  unnatural 
and  out  of  place.  Now,  according  to  the  usual  perver¬ 
sion  of  things  all  the  blame  is  put  upon  the  method  ;  it  is 
photography  and  not  the  photographer  that  is  found  at 
fault.  Figures  are  condemned  because  the  placer  of 
them  is  sometimes  condemnable.  That  it  is  not  the  fault 
of  the  art,  but  of  the — operator  (I  won’t  call  him  artist  in 


4i 


SUNLIGHT  AND  SHADOW 


this  connection),  has  I  think  been  sufficiently  shown, 
and  I  go  so  far  as  to  say  that  more  natural  action,  more 

effect  of  sponta¬ 
neity  in  figures 

can  be  got,  in  ca¬ 
pable  hands,  by 

posing,  than  is 
ever  obtained  by 
instantaneous  ex¬ 
posures  made 
without  the  know¬ 
ledge  of  the  vic¬ 
tim.  Who  ever 

saw  the  petrified  figures  of  men  standing  on  one  leg  in 

the  streets  before  the  “so  natural”  snapshottist  took 
them  unawares?  Who  has  not  wished  in  looking  at 

a  chance  shot  that  this  figure  was  more  to  the  right  or 
left,  and  that  figure  more  in  the  picture,  or  away  alto¬ 
gether?  Nevertheless  the  hand  camera  is  a  splendid  tool 
when  used  seriously. 

It  is  not  even7  subject  that  has  a  picturesque  or  suit¬ 
able  foreground  ready  made.  We  often  meet  with  a 
scene  that  would  make  a  fine  picture  if  it  were  not  for 
the  bald,  uninteresting  foreground,  the  level  meadow,  or 
the  dusty,  dreary  road  ;  but  it  is  often  within  the  power 
of  the  ingenious  photographer  to  do  well  with  unpromis¬ 
ing  materials.  In  selecting  a  subject  we  choose  that 


42 


FOREGROUNDS 


standpoint  which  brings  into  prominence  its  most  inter¬ 
esting  feature,  or  it  may  happen  that  we  add  the  leading 
attraction  for  the  eye  in  the  shape  of  a  group  of  figures  ; 
in  either  case  we  try  to  subordinate  all  the  rest  to  the 
principal  object.  A  very  little  variation  in  the  point  of 
view  may  make  all  the  difference.  We  may  hide  the 
ugly  and  give  prominence  to  the  beautiful,  introduce 
new  beauties,  or  increase  breadth  of  effect  by  possibly  a 
movement  to  be  measured  by  feet  or  inches.  Blank 
spaces  or  flat  foregrounds  may  often  be  improved  by  the 
long  shadows  of  evening,  or  by  the  introduction  of  fig¬ 
ures,  and  much  may  be  done  in  some  cases  by  the 
judicious  use  of  the  pruning  hook.  If  the  scene  be  the 
chief  consideration,  the  figures  must  be  kept  subordinate, 
but  it  is  becom¬ 
ing  usual  among 
painters  to  make 
figures  of  more 
importance  in 
their  landscapes. 

One  or  two  of  my 
illustrations  show 
how  rather  large 
figures  may  be 
sometimes  used. 

It  is  really  wonderful  how  much  may  be  done  by 
very  little  if  done  judiciously.  A  small  spot  of  white  or 

43 


FIG.  d 


SUNLIGHT  AND  SHADOW 


black,  and  occasionally  of  both,  may  turn  a  poor  subject 
into  a  very  presentable  picture.  The  spot,  for  pictorial 
purposes,  may  consist  of  anything,  but  preferably  it 
should  add  interest  to  the  subject. 

It  would  be  useless  to  go  into  details  as  to  the  ar¬ 
rangement  of  various  kinds  of  foregrounds.  The  student 
should  stud}7  the  general  laws  of  art,  and  with  their  aid, 
and  the  common  sense  and  quick  perception  without 
which  no  photographer  can  hope  for  the  highest  success, 
he  will  be  able  to  deal  with  each  case  as  it  arises,  remem¬ 
bering  that  the  more  simple  the  subject  and  broad  the 
effect,  within  limits,  the  better. 

By  way  of  illustration  I  have  selected  a  few  pictures 
that  owe  a  good  deal  of  their  effect  to,  and  would  not  be 

pictcrially  com¬ 
plete  without, 
their  foregrounds, 
all  of  which  owe 
something  to  the 
hand  or  head  of 
the  photographer. 

Fig.  i  is  a  river 
scene  in  which 
the  foreground 
consists  of  a  mass 
of  large-leaved  plants,  full  of  the  most  minute  detail,  yet 
the  mass  forms  as  a  whole  a  breadth  of  light,  contrasting 


44 


FOREGROUNDS 


and  sending  back  the  slightly  less  made  out  middle  dis¬ 
tance.  In  this  case  the  plants  are  interesting  as  being 
the  largest  leaved 
indigenous  plants 
we  have  and  are 
only  met  with  in 
certain  parts  of 
the  country.  Pic- 
torially  the  fore¬ 
ground  was  the 
motive  of  the 
picture. 

Fig.  2,  an  ex¬ 
ample  of  a  circular  foreground.  The  banks  rise  on  either 
side  and  partly  frame  in  the  cows.  The  banks  form 
agreeable  lines  and  contrast  the  horizontal  lines  of  the 
meadows,  the  shade  on  the  left  being  well  opposed  to  the 
mass  of  light  on  the  right. 

Fig.  3  shows  how  a  good  subject,  but  with  some 
awkward  lines  in  the  foreground,  has  been  made  into  a 
picture  b)^  the  introduction  of  figures.  Try  to  imagine 
the  scene  without  the  figures — the  boat  may  be  left. 
However  interesting  the  screen  of  trees  there  would  be 
no  picture.  In  this  case  something  has  been  added  to 
the  atmospheric  effect  b}^  allowing  the  mid-distance  to  be 
a  little  out  of  focus.  The  use  of  small  touches  of  black 
and  white  is  also  shown.  This  picture  is  interesting  to 

45 


SUNLIGHT  AND  SHADOW 


me  as  being  the  first  landscape  I  ever  exposed  on  a  gela¬ 
tine  plate  (15  x  12).  This  was  in  May,  1880.  I  took  four 
plates  only  to  Wales,  experimentally,  and  on  developing 
at  home  was  astonished  at  the  result,  and  at  how  easy 
picture  making  away  from  home  had  become. 

Fig.  4  is  an  illustration  of  the  use  of  large  figures  in 
aid  of  the  foreground. 

Fig.  5  was  originally  a  negative  of  a  boat  and  a 
beautifully  composed  bit  of  sea,  with  an  awkward  line  of 
beach,  making  the  whole  utterly"  useless  as  an  exhibit- 
able  picture.  The  crab-baskets  and  the  whole  of  the 
foreground  were  added  from  a  second  negative. 

Fig.  6  contains  splendid  material  for  a  picture,  vet  is 
a  frightful  example  of  what  not  to  do,  showing  that 
nature  without  art  is  not  enough.  The  light  is  behind 
the  camera,  making  the  landscape  as  flat  as  the  pro¬ 
verbial  pancake.  The  figure,  well  posed,  so  that  there 
should  be  no  room  for  fault  on  that  score,  is  in  pictoriallyT 
the  worst  place,  but  naturally-,  for  fishing  purposes,  the 
best,  it  is  not  only"  exactly  midway  between  the  sides, 
but  also  between  the  horizon  and  the  base  line.  There 
is  no  atmosphere  and  no  skyT  ;  the  photographic  technics 
would,  1  believe,  be  considered  perfect  ;  the  image  is 
very  sharp  and  very"  clean.  Let  me  be  allowed  to  hope 
that  none  of  my"  readers  ever  did  anything,  however  tech¬ 
nically"  commendable,  so  very"  bad,  so  very"  “natural.” 


46 


Chapter  V 


THE  SK } 


TUDY  of  the  Sky  naturally  follows 
that  of  Foregrounds,  and  this  sub¬ 
ject  has  also  been  treated  by  Mr. 
H.  P.  Robinson  in  a  most  exhaust¬ 
ive  and  satisfactory  manner.  We 
therefore  reprint  his  article  in  full 
as  it  appeared  in  The  Photographic 
Times,  with  his  own  appropriate  il¬ 
lustrations. 

For  the  purpose  of  this  article, 
writes  Mr.  Robinson,  1  am  afraid  1 
shall  have  to  be  uncomplimentary,  where  1  should  prefer 
to  praise,  but  I  do  not  see  how  to  avoid  the  disagreeable 
necessity  if  1  am  to  teach  a  lesson  of  any  value,  and  I 
suppose  we  all  put  the  advance  of  our  art  before  any 
other  consideration  whatever. 

The  weak  point,  then,  in  American  landscape  pho¬ 
tography,  if  one  may  judge  by  the  specimens  that  come 
over  the  water  as  illustrations  in  photographic  journals 
and  magazines  (which  it  is  fair  to  assume  are  the  best 
attainable)  is  undoubtedly  the  sky. 

The  subjects  of  the  photographs  from  which  these 


47 


SUNLIGHT  AND  SHADOW 


reproductions  are  made  are  often  well  selected,  and  are 

of  interesting 
scenes,  but  they 
seldom  present 
more  than  the 
raw  facts  of  nat¬ 
ure,  without  any 
of  that  delightful 
harmony  of  tones 
and  gradations 
we  find  in  modern 
photographs  by  those  who  have  studied  nature  and  repre¬ 
sent  her  as  she  appears  to  the  eye  of  the  artist  rather 
than  to  the  lens  of  the  scientist.  The  climate,  possibly, 
may  have  something  to  do  with  this  (for  it  is  not  every 
country  that  enjoy- s  such  a  changeable  and  artistic  atmos¬ 
phere  as  we  have 
in  England)  but 
not  altogether, 
for  we  have  some 
fine  instances 
to  the  contrary. 

In  the  London 
salon  recently  we 
had  a  photograph 
by  Mr.  Eieke- 
meyer,  “Sweet  Home,”  done,  I  believe,  in  America,  that 


THE  SK\ 


equaled  anything  that  has  been  produced  in  delicacy  and 
observation  of  subtle  gradation.  In  London  its  chances 
of  being  properly  seen  were  seriously  endangered  by 
being  sent  to  two  exhibitions  at  the  same  time — which 
sounds  paradoxical,  but  is  true.  Fancy  this  picture  with 
a  white  sky  !  The  result  would  be  another  specimen  ol 
rawness  and  crudity  of  which  we  have  already  far  too 
many.  I  hope  I  may  be  forgiven  for  saying  that  there  is 
danger  to  the  art 
in  showing  and 
praising  speci¬ 
mens  of  imma¬ 
ture  photogra¬ 
ph}7.  The  prom- 
inence  given 
them  by  repro¬ 
duction  invests 
them  with  a  fic¬ 
ticious  value  which  is  misleading,  for  young  beginners 
cannot  help  taking  them  for  examples  to  follow,  instead 
of  to  be  avoided. 

Yet  many  a  crude  result  may  be  turned  into  a  suc¬ 
cess  if  the  operator  would  try  to  understand,  and  act  on 
the  knowledge,  that  in  almost  every  case  a  raw  print  of 
a  raw  negative  is  not  fit  to  show  as  an  example  of  what 
can  be  done  to  represent  beautiful  nature  bv  our  art,  and 
if  the  artist  would  begin  where  the  chemist  left  off,  or, 


FIG.  3 


49 


SUNLIGHT  AND  SHADOW 


rather,  would  do  more  toward  depicting  the  beauties  he 
ought  to  see  in  nature,  but  are  usually  unnoticed  by  the 
unsympathetic  camera  ;  if  the  photographer  would  edu¬ 
cate  his  eye  to  see  nature  as  it  is,  and  not  be  so  ready  to 
believe  what  the  scientific  photographer  represents  as 
facts,  we  should  soon  discover  a  vast  improvement  in 
landscape  photography.  This  matter  of  the  sky  is  a  case 
in  point.  The  plain,  unblushing  photograph,  the  ma¬ 
chine-made  article,  usually  represents  an  ordinary  land¬ 
scape  as  being  backed  by  a  plain  white  paper  sky,  and  I 
am  not  sure  that  reproduction  does  not  sometimes  in¬ 
tensity  this  effect.  Now,  white  paper  represents  nothing 
in  this  world  except  a  plain  space  of  unsuggestive  blank¬ 
ness,  and,  on  the  other  hand,  not  one  inch  of  the  space  it 
is  supposed  to  represent  in  a  photograph  is  without  tone 
and  gradation.  I  do  not  suggest  that  the  sky  is  never 
one  even  tone  all  over,  but  in  that  state  it  is  seldom  of 
much  use  to  the  artist,  and  it  is  tone — not  white  paper. 
A  plain  blue  sky,  without  cloud,  is  perfectly  gradated 
from  the  deep  blue  of  the  zenith  down  to  the  pale  horizon. 

The  sky  is  the  one  thing  that  gives  expression  to 
nature.  It  would  be  a  monotonous  world  without  the 
smiles  and  frowns  of  the  sky.  The  artistic  possibilities 
of  the  clouds  are  infinite.  It  is  the  most  valuable  ele¬ 
ment  to  the  photographer  ;  it  is  the  one  department  of 
nature  which  lends  itself  to  the  landscape  artist,  and  he 
neglects  it.  With  a  properly  selected  sky  he  can  alter  his 


5° 


THE  SK 1 


composition  and  rule  his  chiaroscuro.  In  short,  it  is  one 
of  the  most  potent  elements  to  aid  him  in  rescuing  his 
art  from  the  machine. 

Given  the  necessity  of  a  sky,  then  science  interferes. 
The  photographer  is  usually  deluded  into  endeavoring  to 
discover  some  method  of  taking  the  sky  with  the  land¬ 
scape,  and  almost  certainly  gets  into  a  semi-scientific 
state  of  mind  which  takes  more  pleasure  in  conquering  a 
useless  chemical 
difficulty  than 
in  obtaining  a 
splendid  effect 
with  ease  that 
would  give  pleas¬ 
ure  to  the  world. 

Experiment  for 
experiment’s 
sake  is  the  en¬ 
chanted  forest  in 
which  many  who  have  grown  up  into  good  photographers 
get  mazed  and  lost. 

There  are,  of  course,  occasions  when  it  would  be 
advantageous  to  secure  the  sky  with  the  landscape  on  one 
plate,  but  they  depend  upon  as  many  ifs  as  Touchstone’s. 
//The  lines  of  the  sky  compose  well  with  the  ground  ;  if 
some  other  arrangement  would  not  be  more  conducive  to 
pictorial  effect  ;  if  the  sky  will  come  as  strong  as  it  is  in 

5i 


FIG.  4 


SUNLIGHT  AND  SHADOW 


nature  ;  if  it  can  be  got  without  sacrificing  the  landscape, 
and  a  great  many  other  “it's,”  then  the  sky  would  be 

better  taken  on 
the  same  plate  as 
the  ground,  but 
not  otherwise. 

Ever)7  land¬ 
scape  photogra¬ 
pher  who  would 
represent  nature 
truly,  should 
make  a  collec¬ 
tion  of  sky  negatives  for  future  use,  always  noting  the 
time  of  day  and  of  the  year,  the  direction  and  altitude  of 
the  sun,  and  the  aspects  of  nature  at  the  time  each  sky 
negative  is  taken.  Every  variety  of  effect  should  be 
secured,  and  the  attention  should  not  be  entirely  confined 
to  the  grandest  effects. 

To  save  those  who  may  be  tempted  out  of  the  straight 
path  toward  art  by  technical  diversions,  I  will  give  a  full 
and  complete  formula,  which  will  not  require  any  modifi¬ 
cation  whatever,  for  taking  skies,  so  plain  and  clear 
that  it  should  prevent  even  the  weakest  photographer 
from  having  any  frivolous  thoughts  toward  chemical 
discovery. 

Any  slow  plates,  isochromatic  preferred. 

Shutter  exposure. 


52 


THE  SK) 


Pyro  and  ammonia  developer.  Formula  to  be  found 
on  any  paeket  of  plates. 

Patienee  in  developing. 

The  result  should  be  clean,  thin  negatives,  nearly 
clear  in  the  cloud  shadows. 

The  method  of  using  a  sky  negative  is  so  well  known 
as  to  scarcely  bear  repetition.  When  a  print  is  taken 
the  place  where  the  sky  ought  to  be  will  be  white,  or  if  it 
prints  gray  the  space  may  be  stopped  out  with  black 
varnish  on  the  back  of  the  plate.  Now  take  a  suitable 
cloud  negative,  place  it  in  the  printing  frame,  and  adjust 
the  print  on  it  so  that  the  sky  shall  print  in  the  proper 
place.  When  exposed  to  the  light  the  landscape  portion 
should  be  covered  with  a  black  cloth  or  other  suitable 
mask.  Success  depends  on  the  care  and  skill  in  which 
any  effect  of  the 
join  is  hidden 
and  truth  to  nat¬ 
ure  is  observed. 

There  should 
not  be  a  bit  of 
plain  white  any¬ 
where  about  a 
photograph,  ex¬ 
cept,  perhaps,  in 
minute  quantity,  such  as  in  a  figure.  There  is  no  such 
thing  in  nature.  Even  in  a  woody  scene,  where  very 


Fir,.  6 


SUNLIGHT  AND  SHADOW 


little  sky  shows  through  the  trees,  as  in  Fig.  i,  the  treat¬ 
ment  of  the  sky  makes  all  the  difference  between  a  good 
picture  and  an  ordinary  photograph.  It  will  be  noticed 
in  this  illustration  that  the  strength  of  the  clouds  is  very 
slight,  but  the  various  gradations  harmonize  the  differ¬ 
ent  forms  and  help  to  concentrate  the  light.  A  plain 
white  sky  would  have  grinned  through  the  trees.  To 
make  the  picture  complete  there  ought  to  be  a  pictur¬ 
esque  figure  on  the  path. 

Although  there  may  be  only  a  small  portion  of  sky 
peeping  through  a  corner  it  would  not  be  wise  to  neglect 
it.  Fig.  2  is  an  example  of  this.  If  the  sky  had  been  left 
blank  the  light  and  shade  and  composition  would  have 
tumbled  to  pieces.  The  same  may  be  said  of  Fig.  3, 
where  the  sky  and  figures  make  a  picture  out  of  very 
simple  materials. 

Fig.  4  is  an  example  in  which  the  sk}7  forms  an  im¬ 
portant  part  of  the  composition.  Repetition  of  a  light  or 
form,  but  not  of  the  same  strength  as  the  principal,  is  a 
useful  device  in  art.  In  this  case  the  sk}7  was  selected 
because  the  general  effect  of  the  clouds  echoed  the  forms 
of  the  sheep.  I  know  that  this  is  sometimes  called  con¬ 
ventional,  or  fancy  composition,  but  I  also  know  that  it 
produces  a  pleasing  effect  on  the  ordinary  spectator  with¬ 
out  their  knowing  exactly  how  it  is  done. 

Fig.  5  shows  how  breadth  may  be  attained  by  a  judi¬ 
cious  use  of  clouds,  also  how  a  picture  ma}7  be  made  out 


THE  SK\ 


of  scarcely  an}7  materials  at  all.  Fig.  6  is  an  example  of 
an  extension  of  the  use  of  combination  printing,  which, 
perhaps,  takes  it  out  of  the  region  of  the  clouds,  for  it 
includes  the  sea  on  the  same  plate  as  the  sky,  with  the 
figures  and  foreground  on  another  plate. 

In  order  to  show  that  this  attention  to  the  sky  is  not 
a  new  “fad”  I  select  old  pictures  as  illustrations.  Fig¬ 
ures  i,  3,  4,  and  5  were  done  in  1869  on  wet  collodion  ; 
2  and  6  on  the  earliest  gelatine  plates  I  ever  used. 

I  should  add  that  if  the  student  cares  to  make  photo¬ 
graphing  of  the  sky  of  real  interest  he  will  study  the 
nature  and  forms  of  the  clouds. 

The  best  chart  of  the  sky,  showing  the  forms,  heights 
and  names  of  clouds  that  1  know,  is  the  frontispiece  to 
Mr.  Richard  Inwards’  most  entertaining  volume  on 
“  Weather  Lore.” 


HILLTOP  FARM  By  W.  I.  Lincoln  Adams 


Chapter  VI 


OUT-DOOR  POR  TRAITS  AND  GROUPS 


N  treating  the  subject  of  “Open-Air” 
Portraits  in  the  American  Annual  ok 
Photography  for  1889,  Mr.  John  Bart¬ 
lett  relates  an  anecdote  of  Her  Majesty 
Queen  Elizabeth  of  England,  who  de¬ 
manded,  it  was  said,  to  be  painted  as 
if  in  an  open  garden.  It  seems  that  none  of  the  painters 
of  her  day  could  paint  objects  as  seen  out  of  doors,  and 
so  the}T  painted  the  poor  queen  without  any  shadow  at 
all.  Doubtless  she  was  not  slow  in  giving  her  opinion  of 
their  work,  and  in  her  peculiar  expressive  way,  too. 

Had  good  Queen  Bess  lived  a  little  later  she  would 
have  blessed  Gainsborough  and  De  Hooge  for  their  skill  in 
giving  to  her  portrait  the  appearance  of  out-door  freshness. 

Out-door  portraiture  is  the  besetting  sin  of  the  ama¬ 
teur,  and  his  futile  attempts  at  a  counterfeit  presentment 
of  the  human  face  divine  often  delight  the  professional. 
Nevertheless,  the  freshness  and  naturalness  of  the  work 
he  sometimes  produces,  might  well  cause  the  professional 
to  hide  his  diminished  head  with  shame  for  the  leaded 
and  smoothed-out  caricatures  which  are  blazoned  forth 
as  artistic  portraits. 


57 


SUNLIGHT  AND  SHADOW 


A  glass  house,  after  all,  is  merely  a  protection  against 
the  wind  and  rain.  The  amateur  who  aspires  to  portrait¬ 
ure  need  not  sigh  because  he  is  not  favored  with  a  certain 
tilt  of  roof  when  he  has  the  broad  expanse  of  heaven  for 
his  skylight.  All  that  he  needs  is  good  judgment  and  a 
knowledge  of  what  good  lighting  of  a  face  consists  in. 


INTIMATE  FRIENDS  By  Mabel  Osgood  Wright 


Unless  one  can  judge  from  the  image  focused  upon 
the  ground-glass  of  the  camera  whether  the  distribution 
of  light  and  shade  is  harmonious,  he  cannot  hope,  unless 
by  accident,  to  get  a  pleasing  result,  at  least  not  such  as 
would  be  rewarded  by  an  embrace  from  any  fair  subject. 

The  picture  upon  the  glass  screen,  to  an  inexperienced 
eye,  does  look  beautiful.  The  rich  modulations  of  color 


OUT-DOOR  PORTRAITS  AND  GROUPS 


in  the  human  face  completely  mask  to  the  untrained 
vision  the  abrupt  shadows  which  the  remorseless  him 
relentlessly  registers. 

One  must  divorce  color  from  the  object  and  look  only 
for  the  values,  that  is  the  relative  tone  or  darkness,  of 
one  part  with  another,  and  the  blending  of  the  shadows 
into  one  another. 

To  place  a  sitter  directly  in  a  broad  light  and  expect 
to  get  fine  gradations,  or  in  fact  any  result  which 
looks  like  a  human  face,  is  the  height  of  photographic 
presumption.  There  are  certain  conditions  absolutely 
necessary. 

If  possible  select  a  corner  in  your  yard  where  two 
walls  join  at  an  angle.  It  is  immaterial  in  what  di¬ 
rection  the  walls  stand,  so  that  a  contrast  of  light  and 
shade  is  secured. 

There  should  be  a  principal  light  coming  in  the  en¬ 
closure  at  an  angle  of  about  45  degs.  Of  course  we  do 
not  mean  by  the  downcast  light,  sunlight,  but  a  soft, 
diffused  light  from  a  bright  sky. 

The  chief  defect  in  amateur  portraits  made  out  of 
doors  is  due  to  a  predominance  of  top  light,  which 
causes  heavy  shadows  under  the  eyes  and  gives  a  general 
woe-begone  expression  to  the  countenance. 

The  top  light  should  be  shut  off  as  much  as  possible 
by  means  of  a  canopy  or  roof.  Generally  sufficient  re¬ 
flection  from  the  top  will  be  obtained  to  serve  as  a  high 


59 


SUNLIGHT  AND  SHADOW 


light,  provided  the  roof  of  the  canopy  is  not  too  low.  If 
an}?'  additional  top  light  is  needed,  a  sheet  of  white  paper 
or  muslin  tacked  on  the  top  will  increase  the  illumination. 

Care,  too,  must  be  taken  not  to  have  the  side  light 
too  strong. 


AN  ALPINE  CROSS 


By  Alex.  Keighley 


6o 


OUT-DOOR  PORTRAITS  AND  GROUPS 


Of  course,  reflectors  are  necessary  to  illuminate  the 
shadow  side  of  the  face.  Have  them  as  large  as  the  di¬ 
mensions  of  the  enclosure  will  allow,  and  place  them  at 
some  distance  from  the  sitter.  They  may  be  of  white 
paper  or  muslin.  Ordinary  newspaper  answers  well  as 
a  reflecting  surface. 

The  character  of  the  background  depends  much  upon 
the  taste  of  the  photographer. 

For  single  heads  a  plain  background  should  always 
be  used,  but  for  groups  individual  fancy  may  be  allowed 
more  play.  On  general  principles  the  background  should 
not  be  too  obtrusive. 

A  three-quarter  face  is  the  best  position  for  the  con¬ 
ditions  wre  have  arranged.  The  face  should  be  turned 
towards  the  principal  light  so  that  the  highest  light  may 
strike  the  forehead  and  along  the  nose. 

If  the  figure  is  properly  illuminated  less  time  will 
be  needed  with  a  diffused  light  than  with  a  compara¬ 
tively  strong  light  when  the  subject  is  improperly  illumi¬ 
nated. 

In  an  improperly  illuminated  head  the  high  light 
receives  the  allopathic  dose  while  the  shadows  get  only 
the  homeopathic  treatment. 

We  have  found  the  best  time  of  day  for  taking 
out-door  portraits  to  be  either  in  the  morning  or  in  the 
evening,  at  a  time  when  the  sun  is  considerably  above 
the  horizon  to  brightly  illuminate  the  sky,  but  itself  com- 


SUNLIGHT  AND  SHADOW 


Suppose,  for  instance,  the  sun  to  be  in  the  southwest, 
as  it  usually  is  towards  evening  during  the  months  of  the 


pletely  hid  by  the  surrounding  buildings  and  so  pre¬ 
vented  from  entering  our  little  enclosure. 


By  R.  Eickemeyer,  Jk. 


AS  SHE  COMES  DOWN  THE  STAIRS 


62 


OUT-DOOR  PORTRAITS  AND  GROUPS 


year  when  out-door  portraits  are  taken,  and  suppose  the 
background  wall  to  be  towards  the  north,  the  shadow  side 
of  the  face  towards  the  east,  the  illuminated  side  towards 
the  southwest. 

If  we  place  our  camera  at  the  south  or  southwest, 
according  to  the  position  of  the  face  we  wish  to  take,  we 
shall  have  the  greater  part  of  the  face  in  full  light  and 
the  less  portion  in  shadow. 

This  style  of  illumination  is  very  pleasing  to  the 
artist,  notwithstanding  the  professional  prefers  to  light 
up  the  small  side  of  the  face,  although  the  photograph 
does  look  flat. 

When  these  arrangements  are  complete,  wait  until 
the  southwest  sun  drops  behind  the  houses,  then  make 
your  exposure  and  you  will  find  that  the  resulting  photo¬ 
graph  will  present  a  nice  roundness  and  a  rich  gradation 
of  shadows  which  rarely  needs  any  interference  of  the 
retoucher’s  pencil. 

The  operating  ma,y  continue  until  the  light  becomes 
too  feeble  to  reflect  from  the  side  screen  upon  the  shadow 
side  of  the  face. 

It  may  be  that  everyone  cannot  secure  the  arrange¬ 
ments  suggested.  The  conditions  must  then  be  imitated 
as  closely  as  possible  by  building  up  a  structure  and  sur¬ 
rounding  it  with  screens  to  cut  off  the  direct  rays  of  the 
sun.  The  back  wall  of  the  structure  should  be  rather  high 
so  as  to  secure  the  lens  from  any  extraneous  light.  The 

63 


SUNLIGHT  AND  SHADOW 


frame-work  of  the  enclosure  should  be  constructed  in 
such  a  manner  that  it  may  be  placed  in  a  position  to 
obtain  a  brightly  lighted  side  and  a  shadowed  side.  It 


“  What  is  your  fortune,  my  pretty  maid  ?  ”  By  Major  R.  H.  Brown 

41  My  face  is  my  fortune,  sir,”  she  said. 


should  also  be  of  sufficient  firmness  to  withstand  ordinary 
casualties. 

As  the  face  is  directed  toward  the  light,  the  eyes 
should  be  allowed  to  rest  upon  some  dark  object  of  suffi¬ 
cient  size,  otherwise  the  strong  light,  by  causing  the 
pupils  of  the  eyes  to  contract,  will  give  an  unpleasant 
expression  to  the  face,  besides  there  is  danger  of  a  frown 
or  squint.  Blue  and  other  light  colored  eyes  require 
special  care  in  this  respect. 

The  great  danger  in  this  latter  kind  of  out-door  pic- 

64 


OUT- DOOR  PORTRAITS  AND  GROUPS 


tures  is  from  the  entrance  of  bright  light  b}7  reflection  or 
otherwise  into  the  lens,  causing  fog  or  flare. 

A  large  cone,  blackened  inside,  placed  over  the  lens 
is  recommended.  It  is  useful  if  a  pneumatic  shutter  is 
used,  but  rather  inconvenient  if  one  is  obliged  to  remove 
the  cap  before  making  the  exposure. 

In  Grouping,  Mr.  R.  E.  M.  Bain,  a  skilful  amateur 
photographer  of  St.  Louis,  has  had  much  success.  He 
tells  of  his  methods  in  a  short  article  also  contributed 
to  The  American  Annual  of  Photography.  The  operator 


“ Then  I’ll  not  marry  you.  my  pretty  maid.”  By  Major  R.  H.  Brown 

“  Nobody  axed  you,  sir,”  she  said. 


must  bear  in  mind,  he  says,  that  the  combination  is  here 
the  end  to  be  sought,  and  that  however  well  a  figure 
posed  here,  and  two  or  three  there,  might  look,  by  them- 


SUNLIGHT  AND  SHADOW 


selves,  the  result  will  prove  a  lamentable  failure,  if  thev 
do  not  harmonize.  It  is  usually  best  for  the  photogra¬ 
pher  to  pose  the  group  without  the  assistance  of  others. 

A  combination 
of  ideas  on  the 
subject  generally 
culminates  in  a 
combination  of 
results,  more 
startling  than 
artistic.  A  suit¬ 
able  background 
is  ver}^  hard  to 
find  when  want¬ 
ed.  One  of  trees,  with  sunlight  percolating  through, 
is  very  tempting  but  usually  very  poor,  the  sunlight 
giving  strong,  hard  lights,  making  the  faces  look  black 
by  contrast. 

A  good  ground  is  a  cliff  or  bluff,  or  a  somewhat 
dense  growth  of  foliage.  The  former  usually  admits  of 
a  greater  variety  in  posing  and  offers  the  advantage  of 
allowing  those  in  the  rear  to  show  to  equal  advantage 
with  those  in  the  foreground.  It  is  best  not  to  have  sky, 
or  strong  bright  lights  of  any  kind  as  a  background,  if 
they  can  be  avoided,  as  the  halation  thus  produced  will 
generally  mar  an  otherwise  good  picture.  When  it  can 
be  so  placed,  the  camera  should  face  the  sun  rather  than 


66 


OUT-DOOR  PORTRAITS  AND  GROUPS 


have  the  subject  to  do  so.  Strong  sunlight  is  a  disad¬ 
vantage  in  out-of-door  portrait  or  group  work.  The 
subjects  should  be  arranged  in  easy  natural  attitudes, 
and  the  whole,  when 
possible,  divided  into 
smaller  groups,  each  of 
which  is  independent  of 
the  other,  yet  forming 
together  a  harmonious 
effect.  Give  each  of  the 
groups  a  line  of  thought 
and  action  which  will 
impress  itself  on  their 
minds  and  lead  them 
not  to  think  that  they 
are  being  photographed, 

Copyright  1893  By  R.  Eickemeyer,  Jr. 

but  rather  that  they  are  "he  cometh  not,”  she  said 

acting  a  part.  This  feeling  once  impressed,  the  balance 
of  the  work  is  rendered  much  easier.  As  an  instance,  if 
it  is  desired  to  make  a  group  of  tennis  players  in  costume 
with  spectators  and  friends,  arrange  the  principal  per¬ 
formers  toward  the  center,  one,  with  the  assistance  of 
some  others,  explaining  the  method  of  using  the  racquet, 
a  few  in  easy  attitudes  listening.  To  the  right  and  left 
of  the  main  group  are  some  lolling  on  the  grass,  others 
seated  on  camp  stools  in  appropriate  positions.  The  im¬ 
mediate  foreground  supplied  with  various  accessories  of 


67 


SUNLIGHT  AND  SHADOW 


A  FAVORITE  OCCUPATION,  VENICE  By  Alfred  Stieglitz 

the  game.  The  picture  can  in  this  way  be  easily  com¬ 
posed  in  a  pyramidal  or  other  form,  and  while  all  have  an 
easy,  graceful  pose,  not  one  of  the  party  needs  stare  at 
the  lens.  Explain  to  each  his  particular  part  in  the  tab¬ 
leau  and  impress  the  idea  that  upon  each  one  is  devolved 
the  responsibility  for  the  result.  Endeavor  to  keep  your 
subjects  in  sympathy  with  you,  feeling  the  same  desire 
to  obtain  a  creditable  picture  that  you  have. 


68 


Chapter  Vll 


THE  HAND  CAMERA 


MR.  ALFRED  STIEGLITZ,  to 
whom  the  editor  of  this  book  is 
indebted  for  many  of  its  most  at¬ 
tractive  illustrations,  has  treated 
this  subject  most  intelligently  and 
completely  in  the  American  An¬ 
nual  of  Photography  for  1897. 
The  illustrations  are  also  by  Mr. 
Stieglitz.  He  says  :  Photography 
as  a  fad  is  well  nigh  on  its  last  legs,  thanks  principally  to 
the  bicycle  craze.  Those  seriously  interested  in  its  ad¬ 
vancement  do  not  look  upon  this  state  of  affairs  as  a 
misfortune,  but  as  a  disguised  blessing,  inasmuch  as  pho- 
tographv  had  been  classed  as  a  sport  by  nearly  all  of 
those  who  deserted  its  ranks  and  fled  to  the  present  idol, 
the  bicycle.  The  only  persons  who  seem  to  look  upon  this 
turn  of  affairs  as  entirely  unwelcome  are  those  engaged  in 
manufacturing  and  selling  photographic  goods.  It  was, 
undoubtedly,  due  to  the  hand  camera  that  photography 
became  so  generally  popular  a  few  years  ago.  Every 
Tom,  Dick  and  Harry  could,  without  trouble,  learn  how 

69 


Winter,  Fifth  Avenue  By  A.  S. 


SUNLIGHT  AND  SHADOW 


to  get  something  or  other  on  a  sensitive  plate,  and  this 
is  what  the  public  wanted— no  work  and  lots  of  fun. 

Thanks  to  the  ef¬ 
forts  of  these  people 
hand  camera  and 
bad  work  became 
synonymous.  The 
climax  was  reached 
when  an  enterpris¬ 
ing  firm  flooded  the 
market  with  a  very 
ingenious  hand  cam- 


supreme. 

Originally  known  un¬ 
der  the  odious  name  of 
“  Detective,”  necessarily 
insinuating  the  owner  to 
he  somewhat  of  a  sneak, 
the  hand  camera  was  in 


A  BLOCKADE,  NEW  YORK 


nouncement,  “You  press  the  button,  and  we  do  the  rest.” 
This  was  the  beginning  of  the  “  photographing-by-the- 
yard”  era,  and  the  ranks 
of  enthusiastic  button 
pressers  were  enlarged 
to  enormous  dimensions. 

The  hand  camera  ruled 


WASH-DAY,  VENICE 


THE  HAND  CAMERA 


very  bad  repute  with  all  the  champions  of  the  tripod. 
The}7  looked  upon  the  small  instrument,  innocent  enough 
in  itself,  but  terrible  in  the  hands  of  the  unknowing,  as  a 
mere  toy,  good  for  the  purposes  of  the  globe  trotter,  who 
wished  to  jot  down  photographic  notes  as  he  passed 
along  his  journey,  but  in  no  way 
adapted  to  the  wants  of  him 
whose  aim  it  is  to 
do  serious  work. 


A  HOT  DAY 


By  A.  S. 


But  in  the  past  year  or  two  all  this  has  been  changed. 
There  are  many  who  claim  that  for  just  the  most  serious 
work  the  hand  camera  is  not  only  excellently  adapted, 
but  that  without  it  the  pictorial  photographer  is  sadly 
handicapped. 

The  writer  is  amongst  the  advocates  who  cannot  too 
strongly  recommend  the  trial  of  the  hand  camera  for  this 
class  of  photograph}7.  He  frankly  confesses  that  for 
many  years  he  belonged  to  that  class  which  opposed  its 


SUNLIGHT  AND  SHADOW 


use  for  picture  making.  This  was  due  to  a  prejudice 
which  found  its  cause  in  the  fact  that  the  impression  had 

been  given  him  that 
for  hand  camera  ex¬ 
posures  strong  sun¬ 
light  was  sine  qua 
non.  The  manufac¬ 
turer  is  chiefly  to  be 
blamed  for  this  false 
impression,  as  it  was 
he  who  put  up  the 
uniform  rule  that  the 
camera  should  be 
held  in  such  a  posi¬ 
tion  that  the  sun¬ 
light  comes  from 
over  one  of  the  shoulders,  in  order  to  insure  such  lighting 
as  to  fully  expose  the  plate.  In  short,  the  manufacturer 
himself  did  not  realize  the  possibilities  of  his  own  ware 
and  invention. 

In  preparing  for  hand  camera  work,  the  choice  of  the 
instrument  is  of  vital  importance.  Upon  this  subject 
that  able  artist,  J.  Craig  Annan,  of  Glasgow,  who  does 
much  of  his  work  with  the  hand  camera,  says  :  “  Having 
secured  a  light-tight  camera  and  suitable  lens,  there  is  no 
more  important  quality  than  ease  in  mechanical  working. 
The  adjustments  ought  to  he  so  simple  that  the  operator 


7  2 


THE  HAND  CAMERA 


may  be  able  to  bring  it  from  his  satchel  and  get  it  in 
order  for  making  an  exposure  without  a  conscious 
thought.  Each  worker  will  have  his  own  idea  as  to 
which  style  of  camera  comes  nearest  to  perfection  in 
this  respect,  and  having  made  his  choice  he  should  study 
to  become  so  intimate  with  it  that  it  will  become  a  second 
nature  with  his  hands  to  prepare  the  camera  while  his 
mind  and  eyes  are  fully  occupied  with  the  subject  be¬ 
fore  him." 

To  this  let  me  add,  that  whatever  camera  may  be 
chosen  let  it  be  waterproof,  so  as  to  permit  photograph¬ 
ing  in  rain  or  shine  without  damage  to  the  box.  The 
writer  does  not  approve  of 
complicated  mechanisms,  as 
they  are  sure  to  get  out  of 
order  at  important  moments, 
thus  causing  considerable 
unnecessary  swearing,  and 
often  the  loss  of  a  precious 
opportunity.  My  own  cam¬ 
era  is  of  the  sim¬ 
plest  pattern  and 
has  never  left  me 
in  the  lurch,  al¬ 
though  it  has  had 
some  very  tough 
handling  in  wind  a  bit  near  Munich 


73 


SUNLIGHT  AND  SHADOW 


and  storm.  The  reliability  of  the  shutter  is  of  greater 
importance  than  its  speed.  As  race-horse  scenes,  express 
trains,  etc.,  are  rarely  wanted  in  pictures,  a  shutter  work¬ 
ing  at  a  speed  of  one-fourth  to  one  twenty-fifth  of  a 
second  will  answer  all  purposes.  Microscopic  sharpness 
is  of  no  pictorial  value.  A  little  blur  in  a  moving  subject 
will  often  aid  in  giving  the  impression  of  action  and 
motion. 

As  for  plates,  use  the  fastest  you  can  can  get.  They 
cannot  be  too  fast.  Do  not  stop  dowm  your  lens  except 
at  the  seashore,  and  set  your  shutter  at  as  slow  speed  as 
the  subject  will  permit.  This  will  ensure  a  fully  ex¬ 
posed  plate.  Under  exposures  are  best  relegated  to  the 

ash -barrel,  as  they 
are  useless  for  pic¬ 
torial  work. 

The  one  quality 
absolutely  necessary 
for  success  in  hand 
camera  work  is  Pa¬ 
tience. 

This  is  really  the 
keynote  to  the  whole 
matter.  It  is  amus¬ 
ing  to  watch  the  ma¬ 
jority  of  hand  camera  workers  shooting  off  a  ton  of  plates 
helter-skelter,  taking  their  chances  as  to  the  ultimate 


A  VENETIAN  WELL  By  A.  S. 


74 


THE  HAND  CAMERA 


result.  Once  in  a  while  these  people  make  a  hit,  and  it 
is  due  to  this  cause  that  many  pictures  produced  by  means 
of  the  hand  camera  have  been  con  Isidered  flukes. 


A  VENETIAN  BIT 


At  the  same  time  it  is  inter¬ 
esting  to  note  with  what  regu¬ 
larity  certain  men  seem  to  be 
the  favorites  of  chance — so 
that  it  would  lead  us  to  con¬ 
clude  that,  perhaps,  chance 
is  not  everything,  after  all. 

In  order  to  obtain  pictures  by  means  of  the  hand 
camera  it  is  well  to  choose  your  subject,  regardless  of 
figures,  and  carefully  study  the  lines  and  lighting.  After 
having  determined  upon  these  watch  the  passing  figures 
and  await  the  moment  in  which  everything  is  in  balance; 
that  is,  satisfies  your  eye.  This  often  means  hours  of 
patient  waiting.  My  picture,  “Winter,  Fifth  Avenue,” 
is  the  result  of  a  three  hours’  stand  during  a  fierce 
snow-storm  on  February  2 2d,  1893,  awaiting  the  proper 


75 


SUNLIGHT  AND  SHADOW 


moment.  My  patience  was  duly  rewarded.  Of  course, 
the  result  contained  an  element  of  chance,  as  1  might 
have  stood  there  for  hours  without  succeeding  in  getting 
the  desired  picture.  1  remember 
how,  upon  having  developed  the 
negative  of  the  picture,  f  showed 


VENETIAN  CHARACTERS  By  A.  S. 

it  to  some  of  my  colleagues.  They  smiled  and  advised 
me  to  “throw  away  such  rot.”  “  Why,  it  isn’t  even  sharp, 
and  he  wants  to  use  it  for  an  enlargement !  ”  Such  were 
the  remarks  made  about  what  I  knew  was  a  piece  of  work 


THE  HAND  CAMERA 


quite  out  of  the  ordinary,  in  that  it  was  the  first  attempt 
at  picture  making  with  the  hand  camera  in  such  adverse 
and  trying  circumstances  from  a  photographic  point  of 
view.  Some  time  later  the  laugh  was  on  the  other  side, 
for  vrhen  the  finished  picture  was  shown  to  these  same 
gentlemen  it  proved  to  them  conclusively  that  there  w7as 
other  photographic  work  open  to  them  during  the  “bad 


KATWYK  BEACH  By  A.  S 


season  ’’  than  that  so  fully  set  forth  in  the  photographic 
journals  under  the  heading,  “  Work  for  the  Winter 
Months.”  This  incident  also  goes  to  prove  that  the 
making  of  the  negative  alone  is  not  the  making  of  the 
picture.  My  hand  camera  negatives  are  all  made  with 
the  express  purpose  of  enlargement,  and  it  is  but  rarely 
that  I  use  more  than  part  of  the  original  “shot.” 


77 


SUNLIGHT  AND  SHADOW 


Most  of  my  successful  work  of  late  has  been  pro¬ 
duced  by  this  method.  My  experience  has  taught  me 
that  the  prints  from  the  direct  negatives  have  but  little 
value  as  such. 

The  hand  camera  has  come  to  stay — its  importance 
is  acknowledged. 

A  word  to  the  wise  is  sufficient. 


MID-OCEAN 


By  A.  S. 


Chapter  VIII 


INSTANTANEOUS  PHOTOGRAPH } 


HIS  subject  naturally  follows  the  preced¬ 
ing  ;  in  fact,  both  are  properly  closely 
allied,  for  Hand  Camera  Work  is  usually 
instantaneous.  Mr.  Walter  E.  Wood¬ 
bury,  editor  of  The  Photographic  Times, 
has  written  a  most  instructive  editorial 
on  this  subject  for  his  magazine  which 
1  here  reproduce.  The  illustrations  are 
by  various  workers  in  this  fascinating 
branch  of  photography. 

As  a  rule,  writes  Mr.  Woodbury,  when  an  amateur  is 
initiated  into  the  mysteries  of  the  photographic  art,  he  is 
seized  with  two  desires  :  to  make  portraits  of  all  his  rela¬ 
tives  and  to  photograph  express  trains  going  at  the  rate 
of  60  miles  an  hour  and  other  rapidly  moving  objects. 

Usually  his  attempts  at  home  portraiture  are  quickly 
blighted  by  the  candid  criticisms  of  the  sufferers  who 
object  to  being  caricatured,  so  that  he  turns  to  instan¬ 
taneous  photography  for  his  next  field  of  work. 

Now,  portraiture  and  the  photographs  of  rapidly  mov¬ 
ing  objects  are,  perhaps,  the  two  most  difficult  branches. 

79 


SUNLIGHT  AND  SHADOW 


It  is  with  the  latter  we  intend  to  deal.  No  one  should 
attempt  this  kind  of  work  unless — First,  he  has  the  most 
rapid  plates,  and  knows  how  to  use  them,  for  it  must  be 
remembered  that  the  faster  the  plates  the  more  difficult 
they  are  to  work  with.  Secondly,  he  must  have  a  lens 
which  gives  a  well  defined  picture  with  a  large  aperture. 
Lastly,  he  must  possess  an  efficient  shutter,  by  means  of 
which  a  very  rapid  exposure  can  be  given. 

The  reason  why  there  is  a  so  much  greater  per¬ 
centage  of  failures  among  hand  camera  workers  than 
with  other  photographers  is  no  doubt  due  to  want  of 
thought  when  employing  this  instrument.  Instantan¬ 
eous  exposures  are  given  when  photographing  subjects 
which  a  little  thought  would  have  shown  to  have  required 
several  seconds.  Haphazard  photography  rarely  gives  a 
good  result.  In  instantaneous  photography,  unless  we 
want  a  whole  waste  box  full  of  failures,  we  must  study  the 
necessary  conditions,  and  whether  they  are  suitable  or 
not.  We  have  already  stated  what  is  necessary  in  the 
way  of  apparatus  for  this  kind  of  work.  The  next  points 
to  be  considered  are  what  to  take  and  how  to  take  it. 

Position  is  everything  in  this  class  of  work;  and  many 
make  the  mistake  of  getting  too  near  the  moving  object. 
If  we  study  a  table  such  as  the  one  in  the  American 
Annual  of  Photography,  which  gives  us  the  displacement 
of  a  moving  object  on  the  ground  glass,  we  shall  see 
that  the  greater  the  distance  the  object  is  away  from  us 


80 


THE  DIVER  By  Loins  Meldon 


SUNLIGHT  AND  SHADOW 


the  more  latitude  we  have  in  exposure,  always  bearing  in 
mind  that  we  must  give  the  fullest  exposure  possible  to 
obtain  a  sharp  image  ;  it  will  be  seen  how  important  it  is 
to  retire  to  a  considerable  distance.  If  a  large  image  is 
required  it  is  better  by  far  to  enlarge  afterward,  a  sharper 

result  being  thus  obtained. 
The  direction  in  which  the 
object  is  moving  has  also 
a  most  important  influ¬ 
ence.  When  traveling 
broadside  to  the  cam¬ 
era  we  get  the  maxi¬ 
mum  ;  when  moving 
directly  toward  it,  the 
minimum.  If  at  an 
angle  of  45  degrees, 
we  could  give  with 
safety  double  the  ex¬ 
posure  to  that  required 
for  the  maximum  move¬ 
ment  and  still  secure  a  sharp 
image.  For  express  trains  and 
similar  objects  in  motion  this  is  perhaps  the  best 
position. 

In  photographing  other  subjects,  for  instance,  horses 
galloping,  etc.,  it  must  be  remembered  that  it  is  not  the 
distance  traveled  by  the  horse  that  we  must  take  into 


A  RISE  IN  THE  WORLD 


By  The  Marquis  de  Alfarras 


SUNLIGHT  AND  SHADOW 


consideration — it  is  the  movement  of  its  legs,  principally 
the  hoofs.  In  a  carriage  it  is  the  wheels,  and  in  the 
wheels  the  top  spokes  are,  as  we  know,  traveling  faster 
than  the  bottom  ones. 

The  last  but  by  no  means  the  least  important  con¬ 
sideration  is  the  light.  Attempts  at  very  rapid  photog¬ 
raphy  made  in  anything  but  a  very  bright,  actinic  light 
will  never  result  in  anything  but  failures. 

The  immense  strides  that  have  recently  been  made 
in  instantaneous  photography,  owing  chiefly  to  the  ad¬ 
vent  of  the  dn^-plate  process,  have  caused  photography 
to  become  useful  to  almost  every  branch  of  science. 

To  Marcy,  Muybridge  and  Anschutz  we  are  greatly 
indebted  for  the  advance  made  in  instantaneous  photog¬ 
raphy.  These  gentlemen  have  succeeded  in  photograph¬ 
ing  moving  objects  hitherto  considered  impossible  to  be 
photographed.  Galloping  horses,  swift-flying  birds,  and 
even  bullets  and  cannon-balls  projected  from  guns  have 
been  successfully  photographed,  showing  even  the  little 
head  of  air  driven  along  in  front  of  the  bullet. 

Both  Muybridge  and  Anschutz  have  also  succeeded 
in  making  series  of  twenty-four  or  more  photographs  of  a 
horse  during  the  time  it  makes  a  single  leap,  and  thus 
illustrate  its  every  movement.  The  value  of  these  and 
other  possibilities  with  the  camera  for  artists  cannot  be 
overestimated.  Its  aid  to  meteorologists  in  photograph¬ 
ing  the  lightning,  to  astronomers  in  stellar,  lunar,  and 

84 


SUNLIGHT  AND  SHADOW 


solar  photography,  and  to  all  other  sciences  would  re¬ 
quire  a  work  as  large  as  this  to  describe. 

For  the  making  of  instantaneous  pictures  a  large 
number  of  suitable  cameras  have  been  devised.  In  most 
of  these  the  lens  is  a  very  rapid  one,  and  in  some  cases  so 
arranged  that  all  objects  beyond  a  certain  distance  are  in 
focus.  With  an  instantaneous  camera  a  secondary  image 
is  necessary,  so  that  the  right  second  can  be  judged  for 
making  the  exposure.  This  is  usual  ty  produced  by  a 
“  finder.”  In  making  instantaneous  exposures  the  follow¬ 
ing  tables  will  be  useful  : 


A  man  walking  3  miles  per  hour  moves . 

A  man  walking  4  miles  per  hour  moves . 

A  vessel  traveling  at  9  knots  per  hour  moves . 

A  vessel  traveling  at  12  knots  per  hour  moves . 

A  vessel  traveling  at  17  knots  per  hour  moves . 

A  torpedo  boat  traveling  at  20  knots  per  hour  moves. 

A  trotting  horse . 

A  galloping  horse  (1,000  yards  per  minute) . 

An  express  train  traveling  at  38  miles  an  hour . 

Flight  of  a  pigeon  or  falcon . 

Waves  during  a  storm . 

Express  train  (60  miles  an  hour) . 

Flight  of  the  swiftest  bird  ...  . 

A  cannon  ball . 


Approximate  distance 
per  second. 

4 feet  per  second. 
6 
15 

19 

28 

35 

36 

SO  "  » 

59 

61  "  11 

65 

SS 

294 

1,625  »  " 


An  object  moving— 

1  mile  per  hour  moves . 


5 

6 

7 

8 

9 

10 

1 1 


feet  per  second. 


3 


9 

TO1 2 

12 

13 

14^ 

15 


86 


INS  TANTA  NEO  US  PHO  TOGRA  PH  V 


15  miles  per  hour  moves  .  .  22  feet  per  second. 


20  "  •'  29  " 

25  »  »  37 

3«  "  "  44 

35  "  "  .  5 1 

40  "  "  59  * 

45  "  "  66 

50  "  "  73 

55  "  "  So 

60  «  «  88  » 

75  »  "  110 

100  "  »  147 

125  "  "  183 

150  «  «  220 

200  ”  «  257  " 


With  these  tables  it  will  be  very  easy  to  hnd  the  dis- 
tanee  that  the  image  of  the  object  will  move  on  the 
ground  glass  screen  of  the  camera.  To  do  this,  multiply 
the  focus  of  the  lens  in  inches  by  the  distance  moved  by 
the  object  in  the  second,  and  divide  the  result  by  the  dis¬ 
tance  of  the  object  in  inches. 

Example,  hnd  the  movement  of  the  image  of  an  ob¬ 
ject  moving  50  miles  per  hour  at  a  distance  of  ioo  yards 
with  a  lens  9  inch  focus. 

9  X  876  =  7,884  ~h  3,600  =  24  inches  per  second. 

We  must  also  hnd  out  the  speed  of  the  shutter  re¬ 
quired  to  take  the  object  in  motion,  so  that  it  will  appear 
as  sharply  defined  as  possible  under  the  circumstances. 
To  do  this  the  circle  of  confusion  must  not  exceed  T<hrth 
of  an  inch  in  diameter.  We  therefore  divide  the  distance 
of  the  object  by  the  focus  of  lens  multiplied  by  100,  and 
then  divide  the  rapidity  of  the  object  in  inches  per  sec¬ 
ond  by  the  result  obtained.  This  will  give  the  longest 

87 


SUNLIGHT  AND  SHADOW 


exposure  permissible  in  the  fraction  of  a  second.  For 
example,  we  require  to  know  the  speed  of  a  shutter  nec¬ 
essary  to  photograph  an  express  train  traveling  at  the 
rate  of  50  miles  per  hour  at  a  distance  of  50  }7ards  with  an 
8^-inch  focus  lens. 

The  train  moves  876  inches  per  second. 

1,800  distance  in  inches  -f(8ix  ioo)  =  i,Soo  850  =  ff. 

S76  X  17 

876  speed  of  object  per  sec.  pi  = - =  413  =  jf-j  sec. 

36 

Given  the  rapidity  of  the  shutter,  and  the  speed  of 
the  moving  object,  we  require  to  find  the  distance  from 
the  object  the  camera  should  be  placed  to  give  a  circle  of 

confusion  less  than  -Ho  of 
an  inch.  Multiply  ioo 
times  the  focus  of  the 
lens  b}-  the  space  through 
which  the  object  would 
pass  during  the  exposure, 
and  the  result  obtained 
will  be  the  nearest  pos¬ 
sible  distance  between 
the  object  and  the  cam¬ 
era.  For  example,  we 
have  a  shutter  working 
at  one-fiftieth  of  a  sec¬ 
ond,  and  the  object  to  be 
photographed  moves  at 
the  rate  of  50  miles  per  hour.  How  near  can  a  camera 


/NS  TA  NT  A  NEOUS  PHO  TOG  PA  PH  \  ’ 


fitted  with  a  lens  of  8 3^ -inch  focus  be  placed  to  the 
moving  object? 

Object  moving  50  miles  per  hour  moves  per  second 
876  inches,  and  in  the  one-fiftieth  part  of  a  second  it 
moves  17-52  inches,  so  that — 

8  X  17.52  =  8.5  X  100  X  17  52  -  14,892  inches  —  413  yards. 

Instantaneous  photography  can  only  be  successfully 
performed  in  very  bright  actinic  light,  and  should  never 
be  attempted  on  dull  days,  as  under-exposure  will  be  the 
inevitable  result.  In  developing  it  is  necessary  to  em¬ 
ploy7  a  strong  developer  to  bring  out  the  detail.  Some 
operators  make  use  of  an  accelerator  for  this  purpose,  but 
it  is  not  to  be  recommended  ;  the  simplest  is  a  few  drops 
of  hyposulphite  solution  added  to  about  10  ounces  of 
water.  In  this  the  plate  is  bathed  for  a  few  seconds 
previous  to  development. 


A  SNAP  SHOT 


By  C.  C.  Langill 


Chapter  IX 


WIN  TER  PHO  TOGRA  PH  \ r 


MANY  amateur  photogra¬ 
phers  seem  to  consider  the 
warm  months  as  the  best, 
if  not  the  only,  time  in 
which  to  pursue  their  fa¬ 
vorite  pastime.  This  is 
especially  true  of  the  be¬ 
ginner,  who  usually  pur¬ 
chases  his  camera  in  the 
early  summer,  and  makes 
his  first  experiments  with 
it  during  the  annual  out¬ 


ing  of  his  vacation.  But  those  who  put  their  cameras 
away  with  the  approach  of  cold  weather  lose  some  of  the 
finest  opportunities  of  the  year  for  making  artistic  land¬ 
scape  pictures. 

Nothing  can  be  more  attractive  than  the  snow-cov¬ 
ered  landscape,  with  the  trees  ice-coated  or  bare,  as  the 
case  may  be,  and  with  glittering  whiteness  at  ever}7 
hand.  It  requires  experienced  judgment,  to  be  sure,  to 
reproduce  such  a  charming  scene  satisfactorily  with  the 


91 


SUNLIGHT  AND  SHADOW 


camera,  but  it  can  be  done  when  care  and  experience  are 
brought  to  the  pleasant  task. 

There  are  two  general  classes  of  snow  scenes  ;  the 
first,  in  which  everything  is  completely  enveloped  in 
white,  and  the  second,  in  which  strong  contrasts  are  pre¬ 
sented  by  the  bare,  black  trunks  of  lealless  trees  and  the 
glittering  white  of  the  snow  on  the  ground.  In  the  first 


A  REMINISCENCE  OF  WINTER  By  W.  I.  Lincoln  Adams 


class,  trees,  bushes,  and  everything  glisten  with  ice,  and 
the  fields  sparkle  beneath  the  snow.  There  are  no  con¬ 
trasts,  only  a  mass  of  brightness,  glitter  and  glare.  Here 
the  difficulty  is  to  give  form  and  outline  to  the  scene, 
gradation  and  half-tone  in  the  lights  and  shadows.  It 
must  have  this  in  order  to  be  satisfactory. 

In  order  to  photograph  such  a  scene  we  must  select 


92 


UNDER  THE  WILLOWS  By  'V-  L  LlNCOlN  Apams 


SUNLIGHT  AND  SHADOW 


the  time  of  day  when  the  sun  is  at  one  side  of  our  cam¬ 
era,  and  a  little  behind  it.  This  may  be  in  the  early 
morning  or  the  afternoon,  depending,  of  course,  on  the 
point  of  view  we  have  chosen  for  our  camera.  The  pic¬ 


ture  may  he  selec¬ 


ted  on  one  day,  and 
the  light  noted.  On 
another  day  at  the 
proper  time  we  re¬ 
turn  to  the  spot 
with  our  camera  and 
make  the  exposure. 
In  the  early  morn¬ 
ing  or  late  in  the 
afternoon  the  shad¬ 
ows  prevail,  if  at 
all,  lying  across  the 
snow  in  long,  soft 
masses  of  gloom, 
giving  contrast  to 
the  view  and  some- 

A  COUNTRY  LANE  IN  WINTER  By  A.  R.  Dresser  yvhat  SUlxllling  the 

light,  and  it  is  only  at  such  a  time  that  such  a  snow  scene 
can  he  photographed.  The  exposure  should  be  moderate, 
and  the  development  rather  brisk  in  order  to  bring  out 
the  proper  contrast. 

Our  second  illustration  is  from  a  photograph  typical 


94 


END  OF  A  WINTER’S  DAY 


By  W.  B,  Post 


SUNLIGHT  AND  SHADOW 


of  this  class  of  pictures,  though  in  the  reproduction  the 
delicate  frostwork  which  covered  the  trees  and  made 
them  glisten  in  the  sun  is  lost,  so  that  a  greater  contrast 
is  shown  in  the  illustration  than  was  really  present  in  the 
original  picture  in  nature.  Of  course  the  effort  was  to 
produce  contrast  in  this  instance,  as  it  was  to  overcome 
contrast  in  the  third  illustration,  for  the  tendency  in  the 
first  case  was  toward  flatness  and  lack  of  detail,  while  in 
the  second  case  it  was  exactly  the  reverse.  The  photog¬ 
rapher  must  regulate  his  lighting,  exposure,  and  develop¬ 
ment  so  as  to  offset  and  overcome  the  natural  tendency 
of  the  subject. 

The  second,  and  perhaps  the  larger,  class  of  snow 
scenes  is  quite  different  from  that  we  have  been  consider¬ 
ing,  and  as  a  con¬ 
sequence,  must,  of 
course,  be  photo¬ 
graphed  different¬ 
ly.  In  it  we  have 
pictures  of  the 
greatest  contrast 
-—dazzling  whites 
and  densest  blacks; 
a  hill  covered  with 


FROST  LADEN 


By  Randall  Spaulding 


glittering  snow, 


lined  on  its  summit  with  the  darkest  pines  ;  and  similar 
pictures.  Our  third  illustration  is  typical  of  this  class. 

96 


BOSTON  PUBLIC  GARDEN 


By  Newton  W.  Elwell 


(Made  by  Electric  Light ,  11.30  p.m.) 


SUNLIGHT  AND  SHADOW 


The  question  now  is  to  overcome  contrast  and  give  soft¬ 
ness  to  our  photographs.  As  before  the  light  must  be 
subdued,  and  the  exposures  are  either  made  early  in  the 
morning  or  late  in  the  afternoon  as  before,  and  overcast 
days  are  employed  as  far  as  possible.  The  sun  must  illu¬ 
minate  the  picture  from  behind  the  lens  or  a  little  to  one 
side  as  in  the  other  class  ;  but  the  exposure  must  be  ample 
in  order  to  provide  for  a  very  slow  development.  Ortho- 


chromatic  plates  are  especially  desirable  for  this  class  of 
work,  as  they  harmonize  the  contrasting  dark  greens  and 
browns  with  the  whiteness  of  the  snow,  and  so  obtain  a 
more  natural  and  pleasing  effect  in  the  finished  photo¬ 
graph.  Non-halation  plates  also  can  be  used  here  to 
great  advantage,  requiring,  as  they  do,  longer  exposure, 
and  absolutely  preventing  halation. 

98 


U  7N  TER  PH  O  TO  GRA  PH  V 


In  the  development  of  snow  pictures  there  is  room  for 
the  exercise  of  the  greatest  skill.  When  the  exposure  has 
been  short,  as  in  the  case  ot  the  first  class  of  snow  scenes 
mentioned,  the  developer  must  be  of  full  strength  in 
order  to  bring  out  all  the  contrast  possible.  The  pyro 
and  potash  developer  as  prepared  for  instantaneous  ex¬ 
posures  will  be  found  to  work  well  with  these  briefly 
timed  snow  pictures.  For  developing  amply  exposed 
plates  on  subjects  too  full  for  contrast,  a  milder  developer 
should  be  used.  I  prefer  to  reduce  the  pyro  and  potash 
developer  to  at  least  one-third  of  its  normal  strength  by 
means  of  water,  and  avoid  altogether  the  use  of  bromide. 
When  a  restrainer  is  necessary  use  citrate  of  borax.  Be¬ 
gin  development  slowly  and  strengthen  the  solution  as 
the  image  grows. 

The  fixing,  washing,  and  subsequent  processes  differ, 
of  course,  in  no  way  from  those  usually  emplo37ed  ;  but 
in  toning  and  mounting  snow  scenes  there  is  fine  oppor¬ 
tunity  for  the  display  of  taste. 

Do  not  tone  a  winter  picture  to  a  warm  brown  and 
mount  on  a  chocolate  or  similarly  tinted  card.  Let  the 
toning  be  carried  to  cold  blacks  and  whites,  and  mount 
on  white  or  pearl  card  boards.  Bromide  paper  yields 
peculiarly  appropriate  effects  from  winter  negatives,  and 
the  platinotype  ma}T  also  be  employed  with  good  results. 
Ferro  prussiate  or  “blue”  paper  is  also  suitable  for  this 
class  of  prints,  and,  when  worked  upon  with  the  colors 


99 


SUNLIGHT  AND  SHADOW 


harmonizing  with  the  appropriate  blues  and  whites  of  the 
cyanotype,  it  is  surprising  how  much  artistic  feeling  can  be 
given  an  ordinary  blue  print  of  a  winter  landscape.  This 
additional  work  with  pencil  or  brush  must  not  be  over¬ 
done,  the  slightest  touches  here  and  there  being  all  that 
is  necessary  to  bring  out  an  effective  result.  Any  one 
who  has  sufficient  taste  will  be  found  to  possess  the  ne¬ 
cessary  skill  to  do  all  the  retouching  on  a  blue  print  that 
is  required.  These  may  be  mounted  on  larger  sheets  of 
heavier  paper,  leaving  broad  white  margins  as  in  the 
case  of  water  colors.  Frame  with  simple  light  wood 
moulding,  or  preserve  in  portfolios  or  albums.  Your  col¬ 
lection  of  snow  scenes  will  not  be  among  the  least  inter¬ 
esting  or  attractive  of  the  fruits  of  your  camera. 


A  ROUGH  MORNING 


By  Frank  Hurndall 


Chapter  X 


MARINES 


OR  this  chapter  we  have  a  dual 
authorship.  Mr.  Robinson,  who 
has  contributed  two  or  three  of  the 
previous  chapters  of  this  book, 
treats  the  subject  from  the  En¬ 
glish  point  of  view,  with  illustra¬ 
tions  from  his  own  camera;  while 
Doctor  John  M.  Bemis,  an  Ameri¬ 
can  amateur,  writes,  of  course, 
from  the  American  standpoint. 
Let  us  read  first  what  Mr.  Robinson  has  to  say  : 

Love  of  the  sea  is  the  heritage  of  every  man  of  En¬ 
glish  descent,  and  knowledge  of  it  in  all  its  wonderful 
effects  grows  yearly  more  and  more  among  all  classes. 
Each  year  the  sea  takes  increasing  hold  of  our  painters, 
and  pictures  of  the  sea  cover  more  space  on  the  walls  of 
our  exhibition  galleries,  but  there  is  still  room  for  the 
great  photographer  who  would  make  the  sea  his  own  ; 
there  is  still  room  for  photographs  in  which  we  can  feel 
the  sensation  of  the  power  and  glory  of  the  ocean,  the  salt 
spray,  the  gloom,  the  brilliancy  and  the  infinite  movement. 


IOI 


SUNLIGHT  AND  SHADOW 


We  have  lately  lost  our  greatest  sea  painter  in 
Henry  Moore,  R.A.  No  painter  ever  represented  the 
sea  so  faithfully,  and  yet  made  his  picture  look  less  like 
a  colored  photograph,  than  Moore.  His  work  was  the 
highest  impressionism  without  the  least  touch  of  the 
eccentricity  and  affectation  that  so  marred  the  work  of 
the  impressionists  of  a  few  years  ago,  but  which  is  now 
disappearing.  One  reason  why  he  gave  us  the  spirit  of 
the  sea  so  faithfully  was  that  he  always  painted  straight 


i.  HOLY  LOCH  By  H.  P.  Robinson 


from  nature,  and  never  asked  photograph)"  to  help  him. 
He  had  every  temptation  to  make  use  of  our  art.  In  the 
early  days  of  photography  he  experimented  extensively. 
For  forty  years  he  was  my  intimate  friend,  and  took  the 
greatest  interest  in  photography  ;  yet  he  never  used  our 
art  for  pictorial  purposes  ;  he  took  a  higher  view  of  pho¬ 
tography  than  using  it  as  a  hand-maid  would  imply.  He 
looked  upon  photography  in  its  higher  phases,  as  a  kin¬ 
dred  art  to  painting,  not  as  a  mere  servant  or  assistant  of 


102 


MAR  LYES 


the  painter,  and  took  the  greatest  interest  in  our  Salon, 
speaking  at  length  in  our  discussions  on  art  subjects  held 
during  the  exhibition  season.  I  have  mentioned  him 
here  because  his  pictures  seem  to  me  to  be  of  the  kind 
one  should  aim  to  produce,  simple  pictures,  in  which  in¬ 
cident  is  not  the  chief  purpose,  but  giving  the  absolute 
expression  of  the  sea  in  its  many  phases. 


2.  MR.  GOULD'S  “ATLANTA  By  H.  P.  Robinson 

Not  that  I  object  to  incident  in  a  picture,  but,  on  the 
contrary,  I  prefer  to  see  some  cause,  beyond  a  mere  stud)7 
of  tones,  to  account  for  the  picture  being  painted.  I 
certainly  do  not  wish  to  appear  to  belong  to  those  who 
parade  their  indifference  to  the  quality  of  the  thing  said, 
and  think  only  of  how  it  is  said.  Let  us  have  the  best 


SUNLIGHT  AND  SHADOW 


workmanship,  certainly,  but  let  us  bestow  our  workman¬ 
ship  on  worthy  objects.  Let  us  put  our  poem  into  the 
very  best  grammar,  but  let  us  also  take  care  that  it  is  a 
poem,  not  merely  grammar.  If  anything  must  give 
way  I  really  think  I  could  spare  the  grammar  rather  than 
the  poetry,  or  at  least  a  little  bit  of  it.  Harmony,  tone, 
and  texture,  admirable  as  these  qualities  are,  are  not 
incompatible  with  the  employment  of  subject.  The 


3- 


modern  objection  to  incident  is  too  often  the  result  of 
want  of  thought,  or  lack  of  imagination. 

As  a  rule  photographers  are  more  deficient  in  those 
qualities  which  are  derived  from  impressionism  than  al¬ 
most  any  other,  and,  as  I  recommended  in  the  American 
Annual  of  Photography,  should  receive  a  good  deal  of 
the  attention  of  the  studious  photographer.  There  are 
many  subjects  in  which  the  incidents  consist  of  little 


104 


5.  SEAGULLS 


By  H.  P.  Robinson 


SUNLIGHT  AND  SHADOW 


more  than  the  harmonies  presented  to  us  by  certain  ef¬ 
fects.  The\7  are  to  be  found,  perhaps,  more  plentifully 
at  sea  than  anywhere,  and  one  great  recommendation 
of  impressions  derived  from  the  sea  is  that  they  are 
not  yet  hackneyed,  neither,  indeed,  are  they  within  the 
reach  of  every  photographer,  but  it  happens  to  some  of  us. 

Besides  yachts  which  are  graceful  and  beautiful, 
there  some  more  common  objects  of  the  sea  not  so  beauti¬ 
ful,  but  more  picturesque.  1  mean  the  old  sailing  ships, 
barges,  colliers,  and  fishing  boats,  as  well  as  those  trading 
steamers  that  give  off  vast  volumes  of  smoke  which  take 
fantastic  forms  and  often  add  greatly  to  pictorial  effect. 
These  are  best  sought  for  at  the  mouths  of  great  rivers. 
As  I  have  said  above,  what  I  should  like  to  see  studied  at 
present  are  the  effects  of  sky  and  sea.  Nos.  4  and  5  are 
examples  of  what  1  mean.  Seagulls  are  by  no  means  diffi¬ 
cult  to  secure,  and  I  have  many  negatives  of  them.  Nor 
is  all  this  chance  work.  I  had  already  taken  a  negative 
of  the  view  off  Arran,  shown  in  No.  5,  when  two  seagulls 
were  seen  making  their  way  toward  us.  The}7  were  de¬ 
liberately  waited  for,  and  snapped  as  they  passed,  giving, 
as  figures  of  all  kinds  always  do  when  properly  managed, 
much  greater  interest  to  the  view  as  a  picture.  Some  ol 
my  negatives  contain  hundreds  of  gulls,  but  numbers  do 
not  always  add  to  effect. 

Groups  on  board  are  often  interesting,  not  that  I  give 
the  final  illustration  as  an  interesting  one.  It  shows  part 

106 


MARINES 


of  the  deck  of  the  Heatherbell ,  on  which  some  few  pho¬ 
tographers  may  recognize  the  present  writer  enjoying  one 
of  the  happiest  moments  of  his  life. 


6.  ON  THE  HEATHERBELL 


OCTOR  BEMIS  writes  that  there  is  no  branch  of 


\  J  amateur  photographic  work  that  is  undertaken 
simply  for  pleasure  and  with  the  anticipating  of  pleasing 
results  to  follow  that  can  excel  the  taking  of  marine 
views — glimpses  of  blue  salt  water  — where  every  in¬ 
coming  wave  bears  on  its  curling  crest  tidings  of  the 
older  and  more  picturesque  civilizations,  and  every  reced¬ 
ing  one  runs  out  to  return  by  and  by  laden  with  historic 
folk  lore. 

The  position  of  the  photographic  enthusiast  by  the 
gently  heaving  sea  is  quieting  as  well  as  picturesque,  and 


107 


SUNLIGHT  AND  SHADOW 


gives  him  plenty  of  time  to  look  about  and  to  absorb,  if 
he  be  anything  of  a  reader,  some  of  the  tales  the  waves 
bring  him  and  to  interpret  them  aright  and  so  place  him¬ 
self  more  nearly  in  sympathy  with  history  and  art. 

He  places  homely  log  cabins  upon  the  shore  and 
fences  them  in  by  a  background  of  virgin  forest  ;  he  puts 
about  them  stout  Dutch  settlers  from  the  shores  of  the 
Zuyder  Zee—  all  booted  and  belted  and  hatted  ;  or  if  upon 
Cape  Ann,  the  Mecca  of  marine  artists,  the  Dutchmen  re¬ 
solve  themselves  into  straight  laced  Puritans  with  shorter 
belts  and  longer  faces  ;  here  and  there  a  friendly  Indian 
comes  in  fantastic  garb  to  barter  corn  for  the  coveted 
articles  of  the  colonists  ;  square-bowed,  high-pooped  ships 
ride  at  anchor  upon  the  laz}^  swell,  and  nearer  shore  a 
fishing  shallop  glides  slowly  along  tilled  with  the  morn¬ 
ing’s  catch  of  silvered  fish  ;  the  ring  of  the  woodman’s 
axe  or  the  call  to  noonday  meal  are  the  only  sounds  that 
awake  the  ear,  for  one  soon  grows  accustomed  to  the 
sea’s  gentle  swell. 

Such  day  dreams  tend  to  artistic  work  ;  who  can 
hurry  with  these  phlegmatic  people  of  by-gone  days  about 
him?  No  mixed  plate-holders  or  lost  tripod  screw  here. 

Soon  the  whole  aspect  of  the  scene  changes.  The 
freshening  breeze  brings  on  the  hurrying  waves  laden 
with  more  modern  tales.  The  sky  is  overcast  and  hurry- 
ing  clouds  fly  to  and  fro  with  threatening  aspect  ;  the 
trees  on  shore  bend  to  the  force  of  the  wind,  and  wave 

108 


rmrrTT 


"  -  ■■ ■ 


_ 


MARINE  STUDY 


Photo  by  J.  M.  Bemis 


SUNLIGHT  AND  SHADOW 


their  branches  with  nervous  anxiety.  Now  is  the  time 
for  us  to  hurry  and  with  rapid  lingers  focus  and  arrange 
upon  the  screen  the  dashing  spray  and  water  washed 
rocks  and  catch  the  hurry  of  the  elements  in  all  their 
grandeur. 

Subjects  for  marine  photography  abound.  The  peb¬ 
bly  beach  overhung  with  soft  fleecy  clouds  and  the  lazy, 
heavily  laden  coaster  at  anchor  in  the  middle  ground  ; 
the  “stern  and  rugged  rock-bound  coast”;  the  quiet 
harbor  scenes  and  the  more  quiet  wharfs,  seen  when  the 


‘  TWILIGHT”  MID-OCEAN  By  T.  Frank  Atkinson 


tide  is  low  and  the  reflections  long  ;  the  fisherman  home¬ 
ward  bound  with  all  sail  set  and  tilled  with  the  summer 
breeze  ;  now  and  then  the  Ashing  schooner  may  be 
caught  on  a  windy  day  in  fall  with  mainsail  reefed 
throwing  the  spray  from  oft  her  bows  as  she  leans  to  the 
breeze  and  leaves  a  white  tumble  of  foam  along  her  sides 
and  far  astern. 

In  selecting  subjects  for  marine  views  seek  to  repro¬ 
duce  some  of  the  motion  of  the  objects  about  you,  unless, 


i  io 


JIA  R/NES 


of  course,  you  are  picturing  the  quiet  wharfs  or  the  calm 
noonday7  reflections  when  repose  in  man  and  nature 
should  be  as  carefully  studied  :  the  slightest  particle  of 
spray  dashing  over  the  rocks,  the  comb  of  an  incoming 
wave,  the  white  foam  at  the  vessel’s  bow  ;  anything, 
however  trilling  it  may  seem,  provided  it  be  of  that  va¬ 
riety  of  motion  which  belongs  to  the  sea,  will  give  to  the 
picture  that  peculiar  charm  which  lovers  of  the  ocean 
will  at  once  discern. 

Motion,  that  is  the  sense  of  motion  correctly  and 
spiritedly?  depicted,  often  makes  the  seascape  a  thing  of 
beauty  and  one  of  which  we  seldom  tire  ;  a  landscape 
should  show  nature  at  rest. 

Marine  negatives  should  always  be  full  of  pluck  and 
brilliancy7,  and  to  secure  this  result  err  rather  on  the  side 
of  slight  under-exposure  if  err  we  must  ;  never  over¬ 
expose,  thinking  to  remedy  the  matter  in  development, 
for  the  result  is  Hat  and  uninteresting  in  the  extreme. 

Develop  with  pyrro  always,  and  with  pyro,  for  this 
work,  that  does  not  contain  too  much  sulphite  of  soda, 
because  the  slight  chocolate  tinge  left  by  the  pyro  on  a 
properly  developed  plate  ensures  us  that  sparkle  without 
which  the  marine  view  is  a  failure  ;  for  this  reason,  too, 
the  plain  hyrpo  bath  is  the  best  ;  it  should  be  used  fresh, 
if  need  be,  for  every?  negative,  and  the  plate  well  washed 
before  fixing.  The  prints  should  never  be  over-toned, 
and  1  think  that  for  this  work  the  albumen  positive 


1 1 1 


SUNLIGHT  AND  SHADOW 


often  has  the  advantage  over  the  colder  toned  bromide  or 
platinotype — though  bromides  can  readily  be  developed 
to  exhibit  a  warm  tone  ;  blue  prints,  if  artistically  made 
upon  good  rough  drawing  paper,  are  superb  for  some 
kinds  of  sea  views. 

One  thing  more  :  Do  not  go  to  the  shore  for  marines 
and  expect  to  bring  back  all  there  are  ;  take  everything 
easily  ;  use  the  greatest  care  and  secure  a  few  views  of 
artistic  merit,  and  try  to  improve  upon  them  the  next 
season. 

In  this  way  the  taking  of  marine  pictures  may  be 
made  by  far  the  pleasantest  portion  of  the  amateur’s  ex¬ 
perience.  So  take  the  camera  to  the  seaside,  and  with  it 
placed  in  readiness  upon  the  quiet  wharf  or  the  shelving 
water-washed  rocks,  we  may  take  our  summer’s  rest 
while  the  ear  is  ever  conscious  of 

“  That  strain  of  solemn  music  from  the  sea, 

As  though  the  bright  air  trembled  to  disclose 
An  ocean  mystery.” 


THE  SEA  By  Harry  Platt 


Chapter  XI 


PHOTOGRAPHY  AT  NIGHT 


F  all  the  latest  developments  of 
photograph)7,  undoubtedly  the 
most  interesting,  from  the  ar¬ 
tistic  standpoint  at  least,  is  pho¬ 
tography  at  night,  out-of-doors. 
Mr.  W.  A.  Fraser,  a  well-known 
skillful  amateur,  contributed  to 
The  Photographic  Times,  from 
whose  columns  many  of  our 
chapters  have  been  taken,  the  results  of  his  successful 
attempts  in  this  interesting  work. 

The  first  requisite,  says  Mr.  Fraser,  is  a  strong 
weather-proof  box  camera.  The  one  I  use  for  this  work 
is  an  old  style  Scovill  “detective,”  long  ago  laid  on  the 
shelf,  but  it  struck  me  when  thinking  the  matter  over 
that  its  strength  and  solidity  made  it  a  very  suitable 
instrument  for  this  purpose,  and  much  work  done  with  it 
during  the  past  winter  has  confirmed  me  in  this  opinion. 

I  carry  a  light  folding  tripod  which  can  be  quickly 
and  easily  attached  to  or  detached  from  the  camera,  as 


SUNLIGHT  AND  SHADOW 


working  in  the  dark  with  hands  numb  from  cold  and  wet, 
the  simplest  operation  becomes  a  task,  and  the  more 

simple  the  apparatus,  the  bet¬ 
ter  the  chance  of  success. 

Mr.  Martin  advises  the  use 
of  a  slow  orthochromatic  plate, 
but  considering  the  good  qual¬ 
ity  of  the  fast  plates  as  now 
made,  and  the  great  advantage 
gained  b}^  reducing  the  time  of 
exposure,  an  advantage  which 
one  will  appreciate  after  a 
single  trial,  I  very  much  pre- 

BY  BRYANT  PARK  AFTER  THE  STORM  fer  them,  and  results  do  not, 

in  my  opinion,  suffer  in  the  least  from  their  use. 

As  halation  must  be  guard¬ 
ed  against,  I  adopted  for  this 
work  the  Seed  non-halation 
plate,  and  hack  them  as  a 
further  precaution. 

Working  on  Mr.  Martin’s 
lines  I  at  first  included  iri 
the  exposure  a  minute  or  two 
of  the  last  departing  day- 
light,  if  it  might  so  be  called, 
but  my  negatives  approached 

too  nearly  daylight  results,  the  savoy  hotel,  new  york,  stormy  night 


PHOTOGRAPHY  AT  NIGHT 


and  I  have  since  waited  until  night  has  really  fallen 
before  making  the  exposure. 

Having  chosen  the  view  and  set  up  the  camera,  if  the 
only  lights  included  are  gas  lamps,  the  exposure  with  this 
lens  and  plate  should  be  from  eight  to  ten  minutes,  de¬ 
pending  somewhat  upon  the  distance  to  the  nearest  light, 
while,  if  any  near  electric  lights  are  included,  from  two 
and  one-half  to  three  and 
one-half  minutes  will  suffice. 

When  I  speak  of  electric 
lights,  I  refer  to  those  en¬ 
closed  in  opal  shades,  such 
as  are  used  on  Fifth  and  up¬ 
per  Madison  Avenue  in  our 
city.  Unprotected  lights  or 
those  enclosed  in  plain  glass 
shades  I  haver  never  at¬ 
tempted,  and  doubt  very 
much  if  the}7  can  be  suc¬ 
cessfully  photographed. 

My  moonlight  pictures  were  taken  between  io  and  1 1 
o’clock,  p.m.,  with  moon  almost  full,  and  ten  minutes’ 
exposure. 

During  the  exposure,  a  watch  must  be  kept  that  no 
vehicle  carrying  lights  crosses  the  field  of  view.  My 
practice  is  to  stand  beside  the  camera,  keeping  one  hand 
firmly  on  it  if  it  is  blowing  hard — several  exposures  I 


SUNLIGHT  AND  SHADOW 


found  were  ruined  through  movement  of  the  camera 
caused  by  the  strong  wind, — then  when  a  cab  or  other 
vehicle  carrying  a  light  enters  the  held  of  view,  I,  with 
the  other  hand,  cover  the  lens  until  it  has  passed. 

Moving  objects  not  bearing  lights  make  no  impres¬ 
sion  on  the  plate. 

In  the  development  I  aim  at  softness,  and  use  a 
rather  weak  metol  developer,  two  ounces  stock  solution 
diluted  with  water  to  four  ounces,  and  with  very  little, 
say  two  drachms,  alkali,  no  bromide. 

The  amount  of  detail  picked  up  by  the  lens  when 
using  this  plate  has  been  a  constant  source  of  wonder  to 

me  ;  in  ever}7  case  very 
much  more  than  my  eye 
could  see  was  disclosed 
when  the  plate  had  been 
developed  and  fixed. 

I  prefer  a  stormy  night 
for  this  work,  either  snow 
or  rain,  as  the  artistic  ef¬ 
fect  is  unquestionably 
much  greater  on  these  oc¬ 
casions. 

Before  starting  out  one’s 
mind  must  be  made  up  to  bear  with  equanimity  all  sorts 
of  chaff  and  uncomplimentary  remarks,  which  are  sure 
to  be  showered  upon  the  photographer  by  the  majority 


PHOTOGRAPHY  AT  NIGHT 


of  the  passers  by.  I  have  received  a  great  deal  of  advice 
and  sympathy  concerning  my  mental  make-up  and  con¬ 
dition,  and  if  Robert  Burns  were  still  living,  I  should 
suggest  to  him  that  a  trial 
of  night  photography  might 
partially,  at  least,  fulfil  his 
wish  as  expressed  in  the 
lines 

“  O  would  some  power  the  giftie  gie  us 

To  see  oursels  as  ithers  see  us.” 

This  is  varied  by  a  mul¬ 
titude  of  inquiries  ranging 
from  the  sublime  to  the  ri¬ 
diculous,  and  also  indicative 
that  an  interest  in  science  is 
abroad  on  the  streets  of  New  York,  as  1  have  more  than 
once  heard  John  explaining  to  Mary  as  they  passed  that 
I  was  taking  a  picture  by  those  X-rays  the  papers  have 
been  talking  about. 

I  firmly  believe  there  are  great  possibilities  for  pic¬ 
torial  effect  in  this  night  photography,  and  to  the  en¬ 
thusiastic  amateur,  whose  daylight  leisure  hours  are 
limited,  a  very  broad  field  of  work  is  opened  up.  I  con¬ 
fidently  expect  to  see  great  improvement,  and  some 
startling  effects  produced,  when  it  has  been  taken  up 
and  studied  by  a  greater  number  of  workers. 


MOONLIGHT,  CENTRAL  PARK 


Chapter  XII 


LIGHTING  IN  PORTRAITURE 


N  an  article  contributed  to  The 
American  Annual  of  Photog¬ 
raphy  for  1897,  Mr.  J.  Wells 
Champney,  the  gifted  artist 
and  pastel  portrait  painter, 
has  described  his  methods  of 
making  photographic  por¬ 
traits,  as  an  amateur,  in  his 
own  studio.  My  studio  light 
is  a  good  one,  he  writes,  and 
photographs  can  readily  be 
made  there  under  ordinary 
conditions,  but  it  occurred 
to  me  that  new  and  pretty 
arrangements  of  light  would  vary  the  common  side  light 
effect,  and  so  with  curtains  and  screens,  and  mirrors  as 
well,  I  have  tried  a  variety  of  effects. 

The  most  useful,  I  should  think,  to  the  amateur,  fre¬ 
quently  cramped  for  space  and  limited  in  light,  is  the 
first  I  shall  describe. 

My  window  consists  of  a  large  plate  of  glass  tully 


STUDY  By  J.  Wells  Champney 

( From  reflection  in  a  mirror) 


SUNLIGHT  AND  SHADOW 


of  feet  back  from 
the  window.  This 
curtain  is  pulled 
down.  At  the 
lower  edge  of 
the  window  is 
what  is  called  an 
opaque  curtain, 
which  can  be 
pulled  np.  The 


PORTRAIT  STUDIES  By  J.  Wells  Champnev 

dark  curtain  I  raise  so  that  it  is  above  the  head  of  my 


eight  feet  wide  by  ten  feet  high.  There  is  no  top  light, 
and  I  frequently 
desired  to  pro¬ 
duce  this  effect. 

I  have  brought 
it  about  by  hang¬ 
ing  a  white  cur¬ 
tain,  wider  than 
the  window,  from 
the  ceiling,  plac¬ 
ing  it  a  couple 


1 20 


LIGHTING  IN  PORTRAITURE 


sitter,  where  it  forms  an  excellent  background.  My  sitter, 
we  will  say,  faces  into  the  room  and  is  consequently  en- 


GROUND  PLAN. 

WINDOW. 


Dark  curtain  to  be  raised. 

•  Sitter  with  back  to  window. 


•  • 

White  curtain  fastened  to  ceiling  to  be  pulled  down  at  an  angle 
so  as  to  reflect  light. 


-  Camera 

/  Facing  window 

Far  enough  away  to  shut  out  sky  light. 


tirely  in  shadow  except  for  such  light  as  falls  upon  the  top 
of  the  head,  shoulders,  etc.  This  is  so  bright  and  the  shad¬ 
ow  so  dark  that  no  satisfactory  photograph  could  be  made 


1 2 1 


SUNLIGHT  AND  SHADOW 


until  the  large,  white  curtain  is  pulled  down  and  drawn 
somewhat  into  the  room.  When  the  curtain  is  thus  low¬ 
ered  so  as  to  be  below  the  upper  line  of  the  dark  curtain 
against  the  window  there  is  produced  the  soft  effect  of  a 
top  lighting  in  all  the  parts  that  were  before  very  dark. 

The  camera  is  set  in  the  room  facing  the  window, 
but  far  enough  back  from  the  window  so  that  the  white 
curtain  hides  from  the  lens  the  direct  rays  of  the  sky  light. 

Under  these  conditions  such  pictures  can  be  obtained 
as  are  shown  in  the  illustrations  to  this  article. 

It  not  infrequently  happens  that  the  sharp  brilliant 
light  falling  on  the  model  is  not  agreeable.  By  the  use 
of  thin  draperies  suspended  by  strings,  that  light  can  be 
tempered  or  entirely  removed,  and  the  pretty  diffused 
top  light  be  produced. 

I  am  of  the  opinion  that  very  satisfactory  results 
could  be  reached  under  what  would  ordinarily  seem  im¬ 
possible  conditions,  and  I  suggest  that  some  one  make 
the  experiment  in  a  small  room — a  hall  bedroom — pin¬ 
ning  a  blanket  across  the  lower  portion  of  the  window, 
and  suspending  a  white  sheet  from  the  ceiling.  There 
would  then  be  a  severe  test  made  of  in)7  method. 

To  further  vary  my  lighting,  I  have  hung  a  fine  plate- 
glass  mirror  against  my  dark  window  curtain,  then  plac¬ 
ing  my  sitter  in  the  light,  this  time  facing  the  window, 
photographed  from  the  reflection  in  the  mirror.  The 
glass  must  be  a  perfect  one  or  there  will  be  distortions. 


12  2 


Chapter  XIII 


PHOTOGRAPHING  CHILDREN 


HE  successful  portraiture  of  chil¬ 
dren,  says  Mr.  Walter  E.  Wood¬ 
bury,  may  with  truth  be  said  to  be 
an  art  in  itself,  an  art  that  many 
fail  in  and  a  few  excel.  ‘  ‘  The  great¬ 
est  reverence  is  due  to  the  child,” 
wrote  Juvenal,  the  celebrated  satir¬ 
ist,  but  “I  wonder  how  long  his 
reverence  would  have  lasted  had 
he  attempted  the  photographing  of 
one,”  was  the  query  of  a  more 
modern  writer  and  a  photographer. 

It  is  certainly  curious  to  note  the  antipathy  to  chil¬ 
dren  displayed  by  some  photographers.  Many  would 
sooner  climb  the  steepest  mountain  with  their  whole  kit 
on  the  back  and  photograph  the  summit  than  remain  in 
their  studio  and  attempt  the  portraiture  of  a  “mother’s 
joy.”  Yet  again,  there  are  others  who  delight  in  exercis¬ 
ing  their  skill  upon  such  subjects,  and  these  men  achieve 
success,  and  reap  a  rich  harvest,  for  it  is  through  the 
child  that  the  parents  are  gained. 

A  great  deal  depends  upon  the  qualities  possessed  by 


Copyright,  1893  By  B.  J.  Falk 

ISABEL 


125 


SUNLIGHT  AND  SHADOW 


Copyright,  1892 


MINNIE 


By  B.  J.  Falk 


the  photographer.  He  must  be  of  a  kind  and  gentle 

nature,  one  of  those  men  whom 
children  take  to  instinctively. 
How  common  this  difference  be¬ 
tween  man  and  man.  A  child 
will  run  into  the  arms  of  one 
man  with  the  greatest  willing¬ 
ness  and  confidence,  while  the 
very  appearance  of  another  will 
frighten  them  and  cause  them 
to  cling  fast  to  those  they  know. 

Patience  is  another  virtue  that 
is  absolutely  essential,  for,  with¬ 
out  a  large  stock  of  this  the  photographer  cannot  hope 
to  succeed.  If  he  finds  him¬ 
self  losing  his  temper  he  must 
be  able  to  gracefully  retire  to 
the  dark-room,  unburden  him¬ 
self,  and  return  to  the  gallery 
with  a  happy,  smiling  face. 

If  the  photographer  of  to¬ 
day,  with  his  “cyclone”  plates 
and  “lightning”  lenses,  would 
contrast  his  position  with  that 
of  his  earlier  brethren  he  will 
find  he  has  very  much  to  be 
thankful  for,  and  that  com- 


Copyright,  1892 


By  B.  J.  Falk 


ROSITA 


PHO  TOGRA  PHING  CHILDREN 


pared  with  a  few  years  ago,  the  photography  of  children 
is  a  mere  pastime. 

However  great  the  care,  attention  and  patience  that 
is  necessary,  is  there  not  a  full  compensation  in  the 
charms  of  childhood, 
the  pretty  pictures 
that  can  be  made,  the 
rosy  lips,  sparkling 
eyes,  curly,  wavy 
hair,  and  the  artless 
smiles  of  the  little 
ones  ?  Are  not  these 
worth  any  trouble  to 
secure?  One  glance 
at  the  pictures  that  il¬ 
lustrate  this  chapter 
will  suffice.  Falk  is 
no  magician,  but  a 
man  who  has  learned 
how  to  secure  real 
pictures  of  childhood 
in  all  its  aspects. 

The  most  successful  photographer  with  children  is 
the  man  who  has  a  kind  heart  and  a  warm  love  for  them. 
Mr.  Geo.  Rockwood,  writing  upon  the  subject,  says  : 
“No  man  can  make  a  speciality  of  children.  The  chil¬ 
dren  must  make  a  speciality  of  him.  It  is  a  pure  case  of 


Copyright,  1893 


RITA 


By  B.  J.  Falk 


SUNLIGHT  AND  SHADOW 


‘selection’  or  nature’s  admiration.  The  children  must 

love  him.  They  have  intuitive 
perceptions  and  cannot  be  de¬ 
ceived  by  smooth  words  and 
pretty  gifts  an}7  more  than  the 
animal.  They  know  their  affin¬ 
ities  by  a  nicer,  surer  test  which 
they  cannot  express.  Now,  con¬ 
fidence  between  the  artist  and 
his  subject  is  the  first  element  of 
success  not  only  with  children 
but  quite  as  much  with  adults. 
Art  is  being  so  much  studied  and 
cultivated  in  the  present  day  that  it  often  crops  out  in  the 
dressing  of  children, 
and  the  charms  of 
the  little  maids  and 
masters  are  much 
enhanced  by  pictur¬ 
esque  costumes. 

While  child  beauty 
unadorned  and  un¬ 
draped  is  the  more 
classic,  the  present 
style  of  dress  in 
vogue  among  the 
cultured  and  wealthy  is  often  in  the  highest  degree 


Copyright,  1893  CHILDHOOD  By  B  J.  Falk 


Copyright,  1801  By  B.  ,T.  Falk 

LITTLE  TUESDAY 


Copyright,  1892 


CHILD  STUDY 


Photo  by  B.  .T.  Falk 


SUNLIGHT  AND  SHADOW 


artistic.  To  me  all  are  cornel)7 — if  not  always  in  external 
beauty.  There  is  a  sweet  simplicity  to  childhood  which 

wins  my  heart,  and  I 
am  free  to  say  that 
they  develop  the  best 
efforts  of  my  artistic 
skill,  and  I  prefer  them 
as  a  field  of  effort.” 

When  a  child  is 
brought  to  the  studio, 
the  first  duty  of  the 
photographer  is  to  let 
the  little  one  feel  at 
home.  There  must  be 
no  fear,  no  constraint 
visible.  Enter  thor¬ 
oughly  into  the  spirit 
of  the  thing,  and  do  not  be  a- 
shamed  to  lose  your  dignity  and 

Copyright,  1892  By  B.  J.  Falk 

reflections  self-opinion  for  a  little  while. 

Children,  as  a  rule,  do  not  possess  the  vanity  of  the 
adult  who,  when  he  or  she  is  sitting  for  a  portrait,  is  all 
the  time  trying  to  put  on  an  angelic  expression,  usually 
resulting  in  an  unnatural  smirk  or  idiotic  smile.  To  get 
the  best  expression  with  children,  they  must  be  inter¬ 
ested.  Watch  a  child  blowing  soap  bubbles,  for  instance, 
and  you  will  see  a  hundred  of  the  cutest  expressions 


1 3° 


PHO  TOGRA  PH  INC  CHILDREN 


imaginable,  nearly  ever}^  one  of  which  would  make  a 
picture.  With  a  lens  working  with  a  wide  aperture,  a 
very  rapid  plate,  and  a  well-lighted  studio,  there  should 
be  no  difficulty  in  securing  instantaneous  pictures  of 
these.  The  studio  light,  however,  should  not  be  too 
glaring,  as  it  must  be  remembered  that  the  eyes  of  the 
little  ones  are  not  always  as  strong  as  our  own,  and  an 
unnatural  effect  may  be  the  result.  Everj^  means,  in 
fact,  should  be  taken  to  add  to  the  comfort  of  the  child. 

By  following  these  general  directions  and  suggestions 
one  may  hope  to  have  success  in  this  interesting  branch 
of  photographic  work. 


CHILD  STUDY 


By  Fred  Bojssonas 


i 


Chapter  XIV 


ART  TV  GROUPING 


THIS,  the  concluding  chap¬ 
ter  of  our  book,  consists  of 
an  article  contributed  by 
Doctor  Hemingway  to  The 
American  Annual  of  Pho¬ 
tography,  a  year  book 
which  has  supplied  much 
of  the  present  volume. 

If  we  will  stop  a  mo¬ 
ment  and  study  art  as  ex¬ 
emplified  by  the  great  mas¬ 
ters,  as  will  be  shown  by 
the  illustrations  in  this 
article,  we  will  see  that  the 
scheme,  or  rather  the  form,  of  producing  art  is  of  neces¬ 
sity  divided  into  certain  forms.  The  simplest  of  these 
forms  is  exemplified  by  that  of  Murillo’s  “  Immaculate 
Conception,”  Fig.  i,  which  of  itself  is  a  simple  demon¬ 
stration  of  the  angular  forms  of  composition.  Now, 
therefore,  in  taking  this  illustration  as  an  evidence  of 
artistic  work,  it  shows  conclusively  that  the  angles  are 


1 33 


SUNLIGHT  AND  SHADOW 


the  essential  part  of  the  work.  When  we  look  upon  any 
subject  in  the  way  of  art,  we  look  upon  it  in  the  point  of 

pleasure  that  there  is  to  be 
gained  thereby. 

Curves  are  but  rounded 
angles.  In  this  particular 
stud)'  it  will  be  seen  that 
the  lines,  as  indicated  in 
the  reproductions,  are  such 
that  the  eye  is  relieved 
from  all  strain,  because  the 
vanishing  point  is  within 
the  center  of  the  picture. 
Now,  on  the  other  hand, 
where  we  have  the  double 
triangle,  as  in  illustration 
Fig.  2,  we  see  that  the  grouping  is  such  that  the  vanish¬ 
ing  point  is  in  the  center  ;  and  in  these  classical  studies, 
it  will  be  shown  later  on,  that  the  groupings  of  individ¬ 
uals,  or  subjects,  is  an  essential  part  of  the  photographer, 
if  he  will  produce,  or  desires  to  produce,  perfect  art. 

Now,  while  there  has  been  a  demonstration  of  the 
angular  part  of  work  in  illustration  Fig  2,  we  have  what 
is  called  a  circular  composition  ;  in  reality  the  composi¬ 
tion  is  within  a  circle  in  Fig.  3. 

While  these  laws  are  laws  of  art,  it  is  an  unfortunate 
thing  that  the  photographer  does  not  recognize  the  fact 

134 


ART  IN  GROUPING 


that  the  lines,  curves,  angles,  and  the  like,  make  up  a 
part  of  his  work.  He  goes  haphazard  and  takes  what¬ 
ever  he  can  get,  no  matter  what  it  is,  without  thought  as 
to  the  result. 

Now,  for  instance,  Fig.  4  ;  here  is  a  composition  on 
what  is  called  the  oblique  ;  that  is  to  say,  that  this  com¬ 
position,  or  picture,  is  formed  in  such  a  way  that  while 
the  center  of  the  picture  is  in  the  center,  the  auxiliaries, 
or  side  parts  of  the  picture,  are  as  important  a  part  as  the 
picture  itself.  It  is  evident,  therefore,  that  a  man  shall 
understand,  in  taking  a  picture,  whether  it  be  a  human 
being  or  a  landscape,  that  he  shall  be  cognizant  of  the 
fact  that  the  original  lines,  curves,  beauty,  and  the  like, 
exist  to-day  as  they  did 
years  ago  ;  that  the  “Venus 
de  Milo”  can  be  reproduced 
to-day,  there  is  no  question 
— none,  whatever. 

It  is  hesitancy  in  art. 

Many  reproductions  that 
have  been  made  are  poor 
simply  because  there  is 
lack  of  appreciation  of  art 
as  it  exists  to-day. 

We  will,  then,  take  as 
a  demonstration  of  the  fact,  a  landscape.  The  landscape 
has  its  points  of  vision  and  its  points  of  disappearance. 


SUNLIGHT  AND  SHADOW 


As,  for  instance,  we  take  the  figure  of  an  individual 
lying  face  down  in  the  sand,  or  elsewhere,  and,  as  will 
be  seen  by  the  illustration,  Fig.  5,  that  while  there  are 
curves,  they  can  be  called  at  the  same  time  angles,  and, 
as  a  result,  we  can  have  as  perfect  a  picture  as  the  artist 
may  seek  or  desire.  So,  in  the  end,  it  is  simply  this  :  if 
one  has  a  proper  conception  of  what  constitutes  art.  he 

will  be  enabled,  knowing 
beforehand  what  he  wishes 
to  accomplish,  to  so  group 
his  figures,  that  the  result 
will  be  pleasant  not  only 
to  himself  but  to  everyone 
who  may  look  upon  his 
pictures. 

These  few  points  are 
given  simply  with  the  idea 
that  in  a  composition  any 
photographer,  while  one 
ma}^  not  seek  to  attain  the 
highest  possible  height,  might  thereby  be  able  to  produce 
such  work  that  will  not  alone  be  a  pleasure  to  himself 
but  to  his  friends.  With  these  few  hints,  and  with  the 
illustrations  that  are  given  in  the  article,  there  should  be 
a  better  appreciation  as  to  what  constitutes  the  real, 
especial  points  as  to  composition  in  art.  It  is  absurd  to 
think,  for  a  moment,  that  these  pictures  were  accidental 

[36 


FIG.  4 


ART  IN  GROUPING 


because  the)*  so  contain  the  idea  of  composition  ;  so, 
then,  having  composition  in  view,  as  properly  dictated  by 
the  older  masters  and  shown  in  the  “  Sistine  Madonna,” 
that  one  mav  seriously  con¬ 


sider  before  taking  a  picture. 

The  perseverance  and  in¬ 
telligence  as  shown  by  our 
English  friends  is  so  great 
that  we  can  readily  afford  to 
put  in  three  or  four  hours  a 
day  for  several  days  till  we 
have  acquired  a  grouping 
that  is  to  our  satisfaction. 

The  angles  may  be  vari¬ 
ously  placed,  that  is,  the 
single  angle  may  be  vertical, 
horizontal,  or  inverted. 

In  the  whole  matter  of 
art,  composition  is,  of  neces¬ 
sity,  an  essential  part.  In 
the  half  section  of  the  human 
body,  in  the  horizontal  posi¬ 
tion  (not  vertical),  it  will  be 
seen  that  the  curves,  confor¬ 
mations,  and  the  like,  are  such  that  they  really  represent 
outstanding  hills  in  the  reproduction  in  part  from  Dr. 
Rimmer’s  “Art  Anatomy.” 

i37 


fk; 


.S'  ( - NLIGH  T  A  ND  SHA  DOW 


In  the  reproduction  of  the  painting  representing 
sunset  at  Cohasset,  Fig.  6,  every  detail  has  been  duly  con¬ 
sidered.  It  is  a  rough  sketch  of  a  picture  by  the  late 
Alfred  Perkins,  and  if  you  will  for  a  moment  consider 
the  diversion  of  vision,  as  is  actually  compelled  by  the 
angles  of  the  pictures,  it  will  he  seen  that  is  impossible, 
that  the  eye  cannot,  for  a  moment,  literally  rest  upon  any 
one  especial  point. 

The  eye  is  susceptible  to  influences  of  all  kinds.  If, 
then,  there  is  a  picture  before  an  individual  which  has 
several  angles,  or  curves,  it  necessarily  follows,  that  by 
the  diverting  of  the  eye  from  the  especial  center  of  the 
picture  all  strain  disappears  ;  at  the  same  time,  uncon¬ 
sciously,  the  eye  rests  upon  the  center  of  the  picture,  but, 
as  before  mentioned,  it  is,  to  a  certain  extent,  diverted  by 
the  outstanding  lines. 

Where  one  will  see  a  picture,  and  is  immediately  on 
seeing  it  dissatisfied,  it  lacks  that  essential  thing  which 
is  called  quality.  Before  all  things  quality  should  exist 
in  all  pictures.  Quality  is  that  essential  factor  which 
distinguishes  one  picture  from  another. 

If  a  picture  has  quality  it  speaks  to  you,  and,  gov¬ 
erned  by  your  environments,  it  appeals  to  you  in  its 
especial  quality. 

That  pictures  cannot  appeal  alike  to  all  men  is  shown 
by  the  remarks  of  a  very  distinguished  orator  of  the 
United  States.  Take  the  man,  for  instance,  at  the  sea- 


ART  IX  GROUPING 


shore.  One  passes  along  the  beach  ;  the  hymnal,  cad¬ 
ence,  grandeur  of  surf  all  appeal  to  God  as  the  grand 
Artificer  of  the  universe.  The  man  stands  enthralled  ; 
the  cadence  of  the  waves  and  the  general  hymnal  compels 
him  to  stand  there  entranced,  unable  for  expression. 

Another  man  comes  along.  He  looks  out  on  the  sea 
and  waves  ;  what  was  a  hymn  of  jov  to  the  first  man  was 
a  hymn  of  grief  to  the  second  one,  because  it  inspired  in 


y 


him  thoughts  of  the  death  of  his  wife  and  children  on 
ship.  Where  in  one  case  it  was  a  hymnal  of  joy,  in  the 
other  case  it  was  a  dirge. 

The  third  man  looking  for  driftwood  condemns  the 
sea,  the  earth,  the  sky,  and  everything,  because  there 
was  no  driftwood  for  him,  and  he  saw  no  sentiment  in 
the  whole  scene. 


13  9 


Scene  from  “A  CAPITAL  COURTSHIP”  By  Alexander  Bi.vck 


ART  IN  GROUPING 


So,  therefore,  our  own  environment  and  education 
must  govern  us  in  our  appreciation  and  composition  of 
pictures.  Our  own  associations  will  do  the  same,  but  the 
artistic  sentiment  should  be  so  strong  that  we  can  rise 
beyond  personal  sentiment  and  seek  to  produce  what  is 
great. 

A  consideration  of  the  men  in  the  past  and  the  pres¬ 
ent  who  have  achieved  the  greatest  distinction  in  photo¬ 
graphic  art — it  will  be  found  they  primarily  were  artists 
or  art  students,  or  those  in  whom  the  art  instinct  was 
innate. 

If,  in  the  horizontal  picture  of  the  human  body,  the 
reader  will  place  a  piece  of  white  paper  abutting  on  the 
line  of  section  he  will  have  the  effect  of  distant  hills, 
which  can  be  further  elaborated  by  placing  a  small  circle 
at  the  point  of  greatest  concavity,  and  by  placing  a  ship 
or  so  on  horizon  line  or  below  it  have  a  fair  seascape, 
with  lines  indicating  the  reflection  of  the  circle.  Huxley 
has  said  there  is  no  intrinsic  beauty  in  a  flower,  for  the 
clodhopper  will  crush  it  under  his  feet  without  thought 
of  its  beauty  or  aroma,  In  the  same  flower  uncrushed  a 
botanist,  a  connoisseur  will  find  unutterable  pleasure. 
Therefore,  education  into  the  vast  depths  of  the  beauties 
of  nature  is  a  necessity,  and  is  governed  by  our  environ¬ 
ment.  Once  learned,  the  sky,  clouds,  landscape,  every¬ 
thing  in  fact,  is  a  study  of  most  magnificent  and  con¬ 
stantly  changing  beauty. 

141 


By  W.  I.  LINCOLN  ADAMS. 


Amateur  Photography. 

A  Practical  Guide  for  the  Beginner.  Illustrated.  Fourth  Edition.  Fifth 
Thousand.  In  Paper  covers,  50c.;  Cloth  bound,  $1.00. 

New  York  :  THE  BAKER  &  TAYLOR  COMPANY, 


The  Photographic  I nstructor. 

A  Text  Book  for  the  Professional  and  Amateur.  Fifth  Edition.  Seventh 
Thousand.  Royal  octavo.  215  pages.  Paper  covers,  $1.00. 

New  York:  THE  SCOVILL  &  ADAMS  COMPANY. 


The  Scovill  Photographic  Series. 

A  Library  of  fifty-six  different  publications.  Edited  by  W.  1.  Lincoln 
Adams,  and  covering  a  wide  range  of  photographic  subjects. 

New  York  :  THE  SCOVILL  &  ADAMS  COMPANY. 


Twelve  Photographic  Studies. 

A  Collection  of  Photogravures  from  representative  negatives  by  leading 
photographic  artists  of  Europe  and  America.  Compiled  by  W.  1.  Lincoln 
Adams.  Third  Edition.  Printed  on  japan  Paper,  Size  n  x  14  inches,  and 
put  up  in  ornamental  portfolio  envelope  and  box.  Price  by  mail,  $3.00. 

New  York;  THE  SCOVILL  &  ADAMS  COMPANY. 


The  Four  Seasons. 

A  Series  of  Artistic  Landscapes  from  Nature,  the  negatives  by  W.  I. 
Lincoln  Adams,  Reproduced  in  Photogravure.  Printed  on  extra  heavy 
plate  paper,  Size  11x14  inches,  suitable  for  framing. 

Sold  singly  or  in  sets,  50c.  per  copy  (any  plate), 
The  set  of  four,  $1.50. 

THE  MONTCLAIR  PHOTOGRAVURE  PUBLISHING  COMPANY. 

Montclair,  N.  J. 


Montclair. 

A  Collection  of  Photogravures  from  Nature,  the  negatives  bv  W.  I. 
Lincoln  Adams.  These  plates  adequately  illustrate  the  pictorial  phrases 
of  this  picturesque  town.  The  collection  includes  about  thirty  pictures, 
printed  on  heavy  plate  paper,  bound  in  a  specially  designed  cover. 

Price,  postpaid,  $4.00 

THE  MONTCLAIR  PHOTOGRAVURE  PUBLISHING  COMPANY, 

Montclair.  N.  J. 


-U  lO  A 


